THE SPANISH SERIES
MADRID
THE SPANISH SERIES
Edited by ALBERT F. CALVERT
Goya
Toledo
Madrid
Seville
MURILLO
Cordova
El Greco
Velazquez
Cervantes
The Prado
The Escorial
Royal Palaces of Spain
Spanish Arms and Armour
Granada and the Alhambra
Leon, Burgos, and Salamanca
Valladolid, Oviedo, Segovia,
Zamora, Avila, and Zaragoza
In preparation
Galicia
Sculpture in Spain
Cities of Andalucia
Murcia and Valencia
Tapestries of the Royal Palace
Catalonia and Balearic Islands
Santander, Vizcaya, and Navarre
I
.1
MADRID
AN HISTORICAL DESCRIP-
TION AND HANDBOOK OF
THE SPANISH CAPITAL,
BY ALBERT F. CALVERT,
WITH 453 ILLUSTRATIONS
LONDON : JOHN LANE, THE BODLEY HEAD
NEW YORK: JOHN LANE COMPANY MCMIX
TURNBULL AND SPEARS, PRINTERS, EDINBURGH.
PREFACE
Madrid is but a nursling among the cities of
Spain. Marius Fulvius laid siege to Toledo
nearly two centuries before the birth of Christ,
and it is not until a thousand years later that
we find the first historical mention of Madrid.
London, under the title of Augusta, was one of
the most important towns of Britain more than
five hundred years before Don Ramiro II. of Leon
razed Majerit, as it was then called, in 939.
This is the first authoritative reference we have
to Madrid. In 1540, Charles V. abandoned the
time-honoured capitals of Valladolid, Seville,
Zaragoza, and Toledo, to nurse his gout in the
brisk, rarefied air of Madrid. In 1560 the city
was declared " the only Court " by Philip IL,
and styled " Imperial y Coronada, muy noble y
muy leal" ; Ferdinand VII., in 1814, added the
words " y muy heroica."
Despite the flattering and dignified official
epithets that have been bestowed upon it, Madrid
possesses many natural features which militate
vi MADRID
against its popularity as a residential centre ;
but, despite its isolated and elevated position
and the treacherousness of its climate, the
city has not deserved the strictures that have
been passed upon it by captious and prejudiced
critics. For Madrid is a city of broad thorough-
fares, magnificent public buildings, and handsome
houses ; and, since it has been rescued from its
geographical remoteness by being made the
centre of the Spanish railway system, it has
become one of the most accessible and prosperous
capitals of Europe.
In devoting a volume to an historical and
descriptive account of Madrid, I am not only
fulfilling a duty which could not be neglected
in any serious attempt to make this Spanish
Series useful and comprehensive, but I am also
inspired with a hope of being able to dissipate
many of the erroneous and defamatory impressions
that are current with regard to the Spanish
capital. I have approached the task from the
standpoint of a resident writing for visitors to
the city, and if my notes are biassed in favour
of my subject, I can only say that I have a sincere
liking and admiration for the city, and I have
spoken of its people as I have found them. The
Spanish metropolis is modern ; it is imbued
PREFACE vii
with the principles of modem progress ; and
while one never ceases to rejoice in the unfalter-
ing, unchanging adherence to an immemorial
past, characteristic of Toledo, one may feel an
interest, equally keen and appreciative, in the
spirit of new Spain which is to be found in Madrid.
Not the least pleasant part of an author's
privilege in penning a preface is the opportunity
it affords him of acknowledging the assistance
and courtesy he has received in the accomplish-
ment of his task. To Mr W. Gallichan my thanks
are due for assistance received in the compilation,
and I am also grateful to Senor Don J. Lacoste
and Messrs - Hauser y Menet for their kindness
in permitting me to reproduce many of the
illustrations that adorn this little book.
A. F. C.
CONTENTS
I. General Impressions of Madrid .
II. History of the City
III. The Court and Society in Madrid
IV. Art in Madrid
V. Literature and the Drama
VI. Churches and Public Buildings
VII. Alcala de Henares
VIII. The Bull-Fight
IX. The Art of the Bull-Fighter
X. Caf6 Life of the Madrilenos
PAGE
I
i8
47
60
72
128
136
'45
166
ILLUSTRATIONS
TITLE
Plan of Madrid
Arms of Madrid
General view of Madrid .
View of Madrid from the Teja
General view of Madrid .
View of Madrid from San Isidro
The Fountain of Cybele and Calle de Alcala
The Northern Railway Station and Royal Palace
Puerta del Sol
Puerta del Sol
Calle de Alcala
Calle de Alcala
Calle de Alcala
Calle de Alcala
Carrera de San Jeronimo
Calle de Alcala
Calle de Sevilla
Calle de Alcala
Plaza de Castelar .
Calle de Toledo
In old Madrid
Paseo de Recoletos
Paseo de Recoletos
Paseo de Recoletos
Paseo de Recoletos
Calle de Alcala and Statue of Aguirre
Paseo de la Castellana
Plaza de Isabel II.
Plaza de Oriente .
Plaza Mayor .
PLATE
I
2
3
4
5
6
7
8
9
lo
II
12
13
14
IS
i6
17
i8
19
20
21
22
23
24
25
26
27
28
29
30
XI
Xll
MADRID
TITLE
Plaza Mayor .....
Plaza Mayor and Statue of Philip III.
Calle de Serrano ....
Calle de la Princesa on Good Friday
Entrance to the Park of Alfonso XIII
Casa de Campo. The Lake
Toledo Bridge
Toledo Bridge
Toledo Bridge
Segovia Bridge
Entrance to the Retiro .
Entrance to the Retiro .
Principal Entrance to the Retiro
Retiro. The Parterre
Retiro. The Lake
Retiro. The Crystal Palace
Retiro. Arab Pavilion .
Retiro. Arab Temple
Gate of Alcala
Gate of Hierro
Gate of Toledo
Chamber of Deputies
The Cortes. Two bronze lions in front of the Palace
Interior of the Chamber of Deputies
Interior of the Chamber of Deputies
Reception Room at the Chamber of Deputies. De
corated by Don A. Melida
Reception Room at the Chamber of Deputies. De
corated by Don A. Melida
Fa9ade of the Hospital. Calle Fuencarral
La Latina ......
Portal of the Hospital of the Conception or " La
Latina " in the Calle de Toledo
Staircase of La Latina .
Portal and Staircase of the Hospital de la Latina
Arabian Palace of the Prado
Arabian Palace of the Prado
Lu janes Tower
The Aguirre School
PLATE
ILLUSTRATIONS
Xlll
TITLE
PLATE
The Spanish Theatre
,
,
67
The Royal Theatre
68
The Treasury Office in the Calle de Alcal.
i . . 69
Palace of the Marques de Portugalete
70
Palace of the Marques de Linares .
71
The Bank of Spain
72
The War Office ....
7i
Southern fa9ade of the Museum and th
e Statue of
Murillo .....
74
The Prado Gallery. North fa9ade .
75
The Prado Gallery
76
The New Exchange
77
The Town Hall ....
78
The Northern Railway Station
79
Circulo de Contribuyentes
80
The Senate House ....
81
Hispano-American Bank
82
The Spanish Academy .
83
The Atocha Station
84
National Library ....
85
The National Library and Museum .
86
National Library. Detail of the fa9ade
87
National Library and Museum. East fa9
ide . . 88
National Library. Sphinx
89
The Equitable Buildings in the Calle de A]
cala . . 90
Statue of Maria Cristina and Museum
of Repro-
ductions . . . . .
91
Interior of the New Exchange
92
The Home Office .
93
Astronomical Observatory
94
The Exchange
95
The War Office
96
The Town Hall
97
Ministerio de Fomento .
98
Hermitage of San Isidro
99
Refuge of Our Lady of Mercy
100
Church of San Francisco el Grande .
lOI
San Francisco el Grande. General viev
/ from the
Choir
b
•
102
XIV
MADRID
San Francisco el Grande. The Concession of the
Jubilee of the Porciiincula
San Francisco el Grande. Left side of the Cupola
Crypt in the Almudena Cathedral .
The Cathedral. Partial view of the Crypt
Church of Las Calatravas
Las Calatravas .....
Church of El Buen Suceso
General view of the Church El Buen Suceso
Church of San Jose ....
Church of San Isidro el Real .
Interior of the Church of San Isidro
Church of La Virgen del Puerto
Church of Las Salesas. The Suffering Christ
Church of San Cayetano
Altar-piece in the Bishop's Chapel .
Door in the Bishop's Chapel .
The Bishop's Chapel. Left side of the door
The Bishop's Chapel. Right side of the door
The Bishop's Chapel. Upper part of the door
The Bishop's Chapel. Sepulchre of the Bishop of
Plasencia
The Bishop's Chapel.
Vargas .
The Bishop's Chapel
Carvajal
Parish Church of St Andrew
Isidro, Patron Saint of Madrid
Interior of the Church of San Jeronimo. From a
picture in the Prado of the Prince of the Asturias
(Ferdinand VII.) taking the Oath of Allegiance
in 1789 .......
View of the interior of the Church of San Jeronimo
San Antonio de la Florida ....
Church of San Antonio de la Florida
Interior of the Church of San Antonio de la Florida
Fresco in San Antonio de la Florida, by Goya .
Fresco in San Antonio de la Florida, by Goya .
Fresco in San Antonio de la Florida, by Goya .
Sepulchre of Don Francesco de
Sepulchre of Dona Ines de
Sepulchre of San
PLATE
103
104
los
106
107
108
109
no
III
112
114
116
117
118
119
120
121
122
124
126
127
128
129
130
132
133
ILLUSTRATIONS xv
TITLE
Fresco in San Antonio de la Florida, by Goya . . 1 34
• Group of Angels in San Antonio de la Florida, by Goya 135
Group of Angels in San Antonio de la Florida, by Goya 1 36
Interior of the Church of San Antonio de la Florida . 137
San Antonio de la Florida. Painting in the principal
Chapel, by Goya . . . . . . 1 38
San Antonj'5 de la Florida. Paintings on the centres
of the intrados of the Choir and principal Chapel
Arches, by Goya . . . . . • ^39
San Antonio de la Florida. Paintings on the spring-
ings of the intrados of the principal Chapel Arches,
by Goya ....... 140
San Antonio de la Florida. Paintings on the spring-
ings of the intrados of the Choir Arches, by Goya 141
San Antonio de la Florida. Paintings on the intrados
of the Chapel Arch, left side, by Goya . . 142
San Antonio de la Florida. Paintings on the intrados
of the Chapel Arch, right side, by Goya . . 143
San Antonio de la Florida. Triangles formed by the
Dome adjoining the principal Chapel, by Goya . 144
San Antonio de la Florida. Triangles formed by the
Dome adjoining the Choir, by Goya . . .145
San Antonio de la Florida. Paintings at the left sides
of the windows of the Dome, by Goya . . 14(3
San Antonio de la Florida. Paintings at the right
sides of the windows of the Dome, by Goya . 147
San Antonio de la Florida. First group on the Cupola
to the left of the centre, by Goya . . .148
San Antonio de la Florida. Second group on the
Cupola to the left of the centre, by Goya . . 149
San Antonio de la Florida. Centre of the composition
on the Cupola facing the entrance, by Goya . 1 50
San Antonio de la Florida. First group on the Cupola
to the right of the centre, by Goya . . . 151
San Antonio de la Florida. Second group on the
Cupola to the right of the centre, by Goya . . 152
The Prado 153
The Prado 154
The Prado Gallery . . . . , .155
XVI
MADRID
TITLE
The Prado. The Velazquez Gallery
Madrid Picture Gallen.-. Lower plau
Madrid Picture Gallerj-. Chief plan
Scene in the Life of Santo Domingo de Guzman, bv
Pedro Berruguete. Prado
Ecce Homo, by Luis de ilorales. Prado
The Baptism of Christ, by Navarrete. Prado .
Portrait of Don Carlos, son of Philip II., b\- Alonso
Sanchez CoeUo. Prado .....
The Infantas Isabel Clara Eugenia and Catalina
PLATE
. 156
157
. I5S
159
160
161
Micaela, daughters of Philip II., by Alonso
Sanchez CoeUo. Prado '.....
Jacob recei\-ing the Blessing of his father Isaac, by
Ribera. Prado ......
Vision of St Peter the Apostle to St Peter Xolasco, by
Zurbaran. Prado ......
Los Borrachos, by Velazquez. Prado
The Forge of Vulcan, by Velazquez. Prado
The Surrender of Breda, by Velazquez. Prado
Philip IV., by Velazquez. Prado
Queen Isabel of Bourbon, by Velazquez. Prado
Don Baltasar Carlos, by Velazquez. Prado
Philip IV. in Hunting Costume, by Velazquez. Prado
Don Baltasar Carlos in Hunting Costume, by Velaz-
quez. Prado .......
Duke of Olivares, by Velazquez. Prado .
-Esop, by Velazquez. Prado .....
St Antony Abbot visiting St Paul, by Velazquez.
Prado ........
Las Hilanderas, by Velazquez. Prado
Las Meninas, by Velazquez. Prado
Our Lady of the Immaculate Conception, by Murillo.
Prado ........
El Tinoso : St Elizabeth of Hungary tending the sick
in her Hospital, by Murillo. Prado .
Father Cabanillas, by Murillo. Prado
The Child Jesus as Shepherd, by Murillo. Prado
DetaO of Plate 179, by Murillo. Prado .
The Vision of St Bernard, by Murillo. Prado .
163
^63
164
i6s
166
167
168
169
170
171
172
U3
174
175
176
177
178
179
180
181
182
183
184
ILLUSTRATIONS
xvii
TITLE PIATE
The Virgin of the Rosary, by Murillo. Prado . 185
The Child St John, by Murillo. Prado . . .186
The Children, Jesus and St John, known by the name
of " Los Xinos de la Concha," by Murillo. Prado 187
The Holy Family and the Bird, by Murillo. Prado . 188
Head of the Holy Shepherd (fragment), by Murillo
Prado ........ 189
La Porciiincula (the Vision of St Francis), by Murillo.
Prado ........ 190
The Martyrdom of St Andrew the Apostle at Patras,
by Murillo. Prado ...... 191
The Dream of the Roman Senator and his wife, which
produced the Church of St Maria Maggiore at
Rome, by Murillo . . . . . .192
The Roman Senator and his wife telling their dream
to Pope Liberius, b\- Murillo . . . -193
The Annunciation, by El Greco. Prado . . . 194
The Holy Family, by El Greco. Prado . . .195
The Crucifixion, by El Greco. Prado . . . 196
The dead Christ in the arms of God the Father, by El
Greco. Prado ...... 197
Charles IV., by Goya. Prado .... 198
Queen Maria Luisa, by Goya. Prado . . . 199
The nude Maja, by Goya. Prado .... 200
The draped Maja, by Goya. Prado . . .201
The Family of Charles iV., by Goya. Prado . . 202
Goya at the age of 80, by V. Lopez. Prado . . 203
Jesus and Marj- Magdalene, by Correggio. Prado . 204
The Holy Family and the Lamb, by Rafael. Prado . 205
A Cardinal, by Rafael. Prado .... 206
Madonna and Child, with St Bridget and St Hulpus,
by Titian. Prado ...... 207
The Crown of Thorns, by Domingo Tiepolo. Prado . 208
Portrait of Albrecht Durer, by himself. Prado . 209
Queen Artemisia, by Rembrandt. Prado . . 210
Village Fete, by Teniers. Prado . . . .211
Gallery- of the Archduke Leopold in Brussels, by
Teniers. Prado . . . . . .212
The Three Graces, by Rubens. Prado . . . 213
XVI
MADRID
The Prado. The Velazquez Gallery
Madrid Picture Gallery. Lower plan
Madrid Picture Gallery. Chief plan
Scene in the Life of Santo Domingo de Guzman, by
Pedro Berruguete. Prado ....
Ecce Homo, by Luis de Morales. Prado
The Baptism of Christ, by Navarrete. Prado .
Portrait of Don Carlos, son of Philip II., by Alonso
Sanchez Coello. Prado .....
The Infantas Isabel Clara Eugenia and Catalina
Micaela, daughters of Philip II., by Alonso
Sanchez Coello. Prado '.....
Jacob receiving the Blessing of his father Isaac, by
Ribera. Prado ......
Vision of St Peter the Apostle to St Peter Nolasco, by
Zurbaran. Prado ......
Los Borrachos, by Velazquez. Prado
The Forge of Vulcan, by Velazquez. Prado
The Surrender of Breda, by Velazquez. Prado
Philip IV., by Velazquez. Prado
Queen Isabel of Bourbon, by Velazquez. Prado
Don Baltasar Carlos, by Velazquez. Prado
Philip IV. in Hunting Costume, by Velazquez. Prado
Don Baltasar Carlos in Hunting Costume, by Velaz-
quez. Prado ......
Duke of Olivares, by Velazquez. Prado .
^sop, by Velazquez. Prado ....
St Antony Abbot visiting St Paul, by Velazquez
Prado .......
Las HUanderas, by Velazquez. Prado
Las Meninas, by Velazquez. Prado
Our Lady of the Immaculate Conception, by Murillo
Prado .......
El Tinoso : St Elizabeth of Hungary tending the sick
in her Hospital, by Murillo. Prado .
Father Cabanillas, by Murillo. Prado
The Child Jesus as Shepherd, by Murillo. Prado
Detail of Plate 179, by Murillo. Prado .
The Vision of St Bernard, by Murillo. Prado .
PLATE
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
)t
ILLUSTRATIONS
xvii
TITLE PLATE
The Virgin of the Rosary, by Murillo. Prado . 185
The Child St John, by Murillo. Prado . . .186
The Children, Jesus and St John, known by the name
of " Los Ninos de la Concha," by Murillo. Prado 187
The Holy Family and the Bird, by Murillo. Prado . 188
Head of the Holy Shepherd (fragment), by Murillo
Prado ........ 189
La Porciuncula (the Vision of St Francis), by Murillo.
Prado ........ 190
The Martyrdom of St Andrew the Apostle at Patras,
by Murillo. Prado . . . . . .191
The Dream of the Roman Senator and his wife, which
produced the Church of St Maria Maggiore at
Rome, by Murillo . . . . . .192
The Roman Senator and his wife telling their dream
to Pope Liberius, by Murillo .... 193
The Annunciation, by El Greco. Prado . . . 194
The Holy Family, by El Greco. Prado . . .195
The Crucifixion, by El Greco. Prado . . . 196
The dead Christ in the arms of God the Father, by El
Greco. Prado ...... 197
Charles IV., by Goya. Prado .... 198
Queen Maria Luisa, by Goya. Prado . . .199
The nude Maja, by Goya. Prado .... 200
The draped Maja, by Goya. Prado . . .201
The Family of Charles IV., by Goya. Prado . . 202
Goya at the age of 80, by V. Lopez. Prado . . 203
Jesus and Mary Magdalene, by Correggio. Prado . 204
The Holy Family and the Lamb, by Rafael. Prado . 205
A Cardinal, by Rafael. Prado .... 206
Madonna and Child, with St Bridget and St Hulpus,
by Titian. Prado ...... 207
The Crown of Thorns, by Domingo Tiepolo. Prado . 208
Portrait of Albrecht Diirer, by himself. Prado . 209
Queen Artemisia, by Rembrandt. Prado . . 210
Village Fete, by Teniers. Prado . . . .211
Gallery of the Archduke Leopold in Brussels, by
Teniers. Prado . . . . . .212
The Three Graces, by Rubens. Prado . . . 213
XX MADRID
PLATE
A 434. Gorget. Subject : The Siege of Ostend,
1 60 1. Royal Armoury ..... 260
A 434. Gorget of Philip II. Subject : The Battle of
Nieuport. Royal Armoury . . . .261
Helmet of Philip II. made at Augsburg in 1 549. Royal
Armoury ....... 262
A 243. Helmet of Philip II. made by Wolf of Landshut
in 1554. Royal Armoury .... 263
A 290. Burgonet of King Sebastian of Portugal.
Royal Armoury ...... 264
A 292. Burgonet made for Philip III. by Lucio
Picinino. Royal Armoury . . . .265
A 350. Helmet for the Duke of Savoy (side view).
Royal Armoury ...... 266
D 3. Burgonet of Charles V. designed by Giulio
Romano. Royal Armoury .... 267
M 5. Helmet of Francis I. of France, taken at the
Battle of Pavia. Royal Armoury . . . 268
1 5 1 1 . Satin and velvet turban found in the palace of
Mustafa Bey of Oran, in 1722. — 1533. Steel
turban of Ali Pasha, Turkish admiral at Lepanto.
Royal Armoury ...... 269
D 63. The " Plus Ultra " shield designed by Giulio
Romano. Royal Armoury .... 270
D 10. Shield, early 17th century. Design : Warriors
in Combat. Royal Armoury .... 270
D 69. Italian shield, i6th century. Design : The
Triumph of Love. Royal Armoury . . 271
D 68. Shield of Augsburg make, i6th century. Royal
Armoury . . . . . . .271
D 79. Shield presented to Philip III. by the Duke of
Savoy in 1603. Royal Armoury . . . 272
D 86, Moorish leather shield, end of isth century.
Royal Armoury ...... 273
M 6. Shield and sword of Francis I. of France, taken
at the battle of Pavia. Design : The Gallic Cock
attacking a warrior and putting him to flight.
Royal Armoury ...... 274
ILLUSTRATIONS xxi
TITLE PLATE
A 242. Pommel and cantle of saddle of Philip II.
Royal Armoury . . . . . .275
A 291. Cantle-plates of saddle made by Lucio Picinino.
Royal Armoury ...... 276
Turkish saddle given to Charles III. Royal Armoury 277
Trophy formed of several pieces of armour of Philip II.
Royal Armoury ...... 278
Armour of a greyhound. Royal Armoury . . 279
1987, 1992. Spanish arquebuses, end of i6th century.
— 1955. Petronel, i6th century. — 1961. Spanish
arquebus, with octagonal barrel inlaid with mother
of pearl and ivory, i6th century. — 1972, 1977,
1946. Keys or cranks to cock the arquebuses.
Royal Armoury . . . . . .280
Double breech-loading canaon, in bronze, used in
Spain at the end of the 15 th century. Royal
Armoury . . . . . . .281
Sedan chair of Philip V. (from the coach-houses of the
Royal Palace, Madrid). Royal Armoury . . 282
Sedan chair of Ferdinand VI. (from the coach-houses
of the Royal Palace, Madrid). Royal Armoury . 283
Sedan chair of Charles IV. (from the coach-houses
of the Royal Palace, Madrid). Royal Armoury . 284
Sedan chair of Philip V. (from the coach-houses of the
Royal Palace, Madrid). Royal Armoury . . 285
Sedan chair of Charles III. (from the coach-houses
of the Royal Palace, Madrid). Royal Armoury 286
Campaign litter of the Emperor Charles W Royal
Armoury ....... 287
Carriage given by Napoleon I. to Charles IV. (from
the coach-houses of the Royal Palace, Madrid).
Royal Armoury ...... 288
The Crown coach (from the coach-houses of the
Royal Palace, Madrid). Royal Armourj' . . 289
General view of the interior of the old Armoury . 290
General view of the interior of the old Armoury . 291
General view of the interior of the old Armoury . 292
Royal Academy of History. Exterior of the triptych-
reliquary from the stone monastery in Aragon . 293
XXll
MADRID
TITLfe PLATE
Royal Academy of History. Part of the triptych-
reliquary from the stone monastery in Aragon . 294
Royal Academy of History. Paintings on the ex-
terior of the triptych-reliquary from the stone
monastery in Aragon . . . . .395
Statue of Philip III. in the Plaza Mayor . . . 296
Statue of Philip IV. in the Plaza de Oriente . . 297
Statue of Espartero the Peace-maker . . . 298
Statue of General Concha, Marques del Duero . . 299
Statue of Velazquez ...... 300
Statue of Murillo ....... 301
Retiro. Statue of Goya ..... 302
Statue of Cervantes ...... 303
Cervantes ........ 304
Statue of Calderon de la Barca. (The work of J.
Figueras) . . . . . . .305
Isabel the Catholic. Bronze group in the Castellana.
(The work of Oms) ...... 306
Monument to the memory of Columbus in the Paseo
de Recoletos ....... 307
Monument to the memory of Columbus in the Paseo
de Recoletos ....... 308
Monument to the memory of Columbus in the Paseo
de Recoletos ....... 309
Monument to the memory of Columbus in the Paseo
de Recoletos . . . . . . .310
Monument to the memory of Columbus in the Paseo
de Recoletos . . . . . . .311
Monument to commemorate the 2nd of May . . 312
Fountain of Neptune in the Prado . . . -313
The Fountain of Cybele . . . . . .314
The Prado, with the Fountain of the Four Seasons . 315
The Royal Palace from the Casa de Campo . . 316
Royal Palace. The changing of the Guard (Hal-
berdiers) . . . . . . .317
The Palace ........ 318
The Palace from the Plaza de Oriente . . . 319
The Royal Palace ....... 320
Fa9ade of Palace . . . . . . .321
ILLUSTRATIONS
xxm
Palace and Plaza de la Armeria
The Queen Mother leaving the Palace
Principal Staircase
Detail of Throne Room .
General view of Throne Room
The Throne ....
Room of Charles III.
The Queen's Room
Room of Mirrors
Gasparini Room of Charles III.
Hall of Columns
The Wedding. The King and Queen leaving
church and entering the Royal coach
A Battle of Flowers
His Majesty the King of Spain
H.M. Queen Victoria of Spain
The King and Queen of Spain
H.^I. Queen Victoria
Her Majesty the Queen Mother
Don Carlos of Bourbon .
Medal struck in honour of the
A Lady with a Mantilla
Mantillas
An out-door Pelota Court, with six players,
against three
A Pelota Court
A Tartana
Th*., Harvest Cart
Sketches in Spain
Sketches in Spain
A Dancer
An Orange Seller
The Counsellor of the village
Full list of lottery results
Bull-fighters at the tavern
A Spanish girl
View of the Monastery of the Escorial
View of the Monastery (east side)
The Colonnade of the Monastery
Royal Marriage
the
tliree
PLATE
322
324
325
326
327
328
329
330
332
333
334
335
336
337
338
339
340
341
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353
XXIV
MADRID
Upper Cloister of the Monastery
Lower Cloister of the Monastery
The Evangelists' Court .
Principal Staircase of the Monastery
Interior of the Church .
Panteon of the Kings
Panteon of the Infantes .
Chapter Room. (Monastery)
Sacristy. (Monastery) .
Altar-piece of the Santa Forma, painted by Claudio
Coello. (Sacristy of the Monastery)
Retablo of the High Altar. (Basilica of the
Monastery)
Left side of the High Altar : Interment of the Em
peror Charles V. .
The Tabernacle in the Escorial Church
Choir Stalls. (Basilica of the Monastery)
Library of the Monastery
Apollo and Mercury, by Peregrino Tibaldi. (Fresco
on the arch of the Escorial Library) .
Reception Hall. (Palace)
Hall of Ambassadors. (Palace)
Dining-Hall. (Palace) ....
Pompeian Hall. (Palace)
" Casa del Principe " or Lower Lodge
Coffee-Room. (Casa del Principe) .
The Last Supper, by Titian. (The Escorial)
The Holy Family, by Rafael. (Casa del Principe at
the Escorial) .
St Maurice and other Martyrs, by El Greco. (Chapter
Hall of the Escorial)
The Dream of Philip II., by El Greco. (Chapter Hall
of the Escorial)
Country Dance, by Goya. (Tapestry in the Dining
Hall of the Palace) .
The Washerwomen, by Goya. (Tapestry in the
Escorial Palace)
The China Merchant, by Goya. (Tapestry in the
Escorial Palace)
PLATE
354
355
356
357
358
359
360
361
362
363
364
365
366
367
368
369
370
371
172
373
374
375
2>77
378
379
380
381
382
ILLUSTRATIONS
XXV
Goya. (Tapestry in the
by Goya. (Tapestry in the
(Tapestry in the Escorial
(Casa del Principe at the
of
St
TITLE
The Grape-Sellers, by
Escorial Palace)
Children picking Fruit,
Escorial Palace)
The Kite, by Goya.
Palace) .
A Smoker, by Teniers.
Escorial) ......
The Story of the Passion. Diptych, in ivory,
the 13th century. (From the Camarin of
Theresa)
Egyptian Bronzes. Amon-Ra and Isis. (National
Archaeological Museum)
Egyptian Bronzes. Osiris and Osor-Api. (National
Archaeological Museum)
Alcala de Henares. Paseo de Cervantes
Alcala de Henares. General Central Archives .
Alcala de Henares. General Central Archives .
Alcala de Henares. Fa9ade of the Archives
Court of the Alcala de Henares. General Centi-al
Archives .......
Alcala de Henares. Chapel of the " Oidor." Actual
state of the north wall .....
Alcala de Henares. Actual state of the south wall .
Alcala de Henares. Chapel of the " Oidor." Actual
state of the frieze round the north wall
Alcala de Henares. The University
Alcala de Henares. Facade of the University .
Alcala de Henares. Longitudinal section of the
Chapel of San Ildefonso in the University
Alcala de Henares
University
Alcala de Henares.
University
Alcala de Henares.
Alcala de Henares.
Alcala de Henaxes.
Alcala de Henares.
Alcala de Henares.
Details of the fa9ade of the
Details of the facade of the
Paseo de la Estacion
Moorish Palace
Interior of the Cathedral
Interior of the Cathedral
The Cathedral. Nave
PLATE
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384
38s
386
387
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389
390
391
392
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MADRID
I
GENERAL IMPRESSIONS OF MADRID
" From Madrid to heaven, and in heaven a spy-
hole to look at Madrid" is the vaunt of the in-
habitants of the Spanish capital. This pride has
its justification, for Madrid is a fine city, remark-
able for its position on a plateau over two
thousand feet above the sea, famous for its pro-
gress during the eventful eighteenth and nine-
teenth centuries, and interesting by reason of the
great names in the arts and literature inscribed
upon its records. Madrid for the writers of the
Romantic school was as charming as all other
things Spanish ; for de Musset it was " princesse
des Espagnes " and " blanche ville des serenades."
Few towns in Europe are situated amid so many
natural hindrances to development as Madrid.
It stands south and east of the bleak moun-
tains of central Spain, upon one of many exposed
and almost treeless uplands, where the winds of
winter and early spring sting and bite, and the
2 MADRID
sun in summer sheds pitiless heat, which dries up
the blood and disposes to languor. So fickle is
the climate of this lofty region that, even in the
height of August, it is never quite safe to discard
the capa after sundown, for, during the hottest
day, a sinister and gelid breath may assail one at
the street comer with a menace of chill to the
lungs. Yet Madrid is not unhealthy. It is dry,
invigorating, swept by mountain breezes, bathed
for long periods in brightest sunlight, and free
from the contamination and depression of smoke.
With proper provision against the variations in
temperature, one may enjoy a full measure of
health and live to an advanced age in this city of
the hills. The more dangerous kinds of fever are
uncommon in Madrid ; the chief risk to health is
in the sudden keen air that brings a shiver when
the body has been scorched by the sun, and one
turns to seek the shady side of the street.
Rio and Cabarras, two Spanish historians,
speak of the bad odours and the dirt of Madrid in
the seventeenth century. This reproach was, how-
ever, removed in the time of Henry Swinburne,
an intelligent traveller, who visited the city in
1776. " The appearance of Madrid," writes
Swinburne, " is grand and lively ; noble streets,
good houses, and excellent pavement, as clean as
GENERAL IMPRESSIONS 3
it was once dirty." In earlier days it was not
thought necessary to wash the thoroughfares,
because the purity of the air was an effective
antidote to the evil of the filth and the smells.
Rio, for example, advances the opinion that the
invigorating mountain breezes are a sufficient
purification.
The clear quality of the Madrid sunshine is a
compensation for the treachery of its winds.
There are but few sunless days. " The sky at
Madrid is almost always clear and serene," wrote
Laborde, in 1809. The heights of the Guadarrama
are too far from the city to throw their shade
upon it, and the brilliant sunlight pours down and
floods the streets and squares, and penetrates
every dweUing. Looking upon the wide, rolling,
hiUocky country from the outskirts of the city,
you have a marvellous vista, full of colour, glow,
and the grandeur of huge sunhght spaces. The
sky is almost perennially deep blue ; but at times
there are vast masses of purple cloud above the
horizon, whose passing shadow produces chang-
ing effects of hght and darkness upon the far-
stretching landscape, and adds a sternness to the
sierra.
For a long period this part of Castile was
ravaged by the fellers of trees. The farmers
MADRID
aimed besides at the extinction of all kinds of birds,
under the delusion that every bird is harmful to
crops ; and in the conduct of this warfare the
axe was laid to the roots of millions of trees, so
that no harbour for small birds might remain.
This clearing of the forests destroyed the natural
barriers against icy winds, deprived the land
of all shade, made deserts in place of groves,
and affected the climate and rainfall. A wiser
policy was instituted in later years, and now
a number of large plantations have grown up
in the environs of the town, and the once de-
nuded hillocks and bare guUies are here and
there clothed with shady coppices. For the
rest, the herbage of these grey uplands yields
moderate pasturage for sheep in summer.
Madrid lacks the dignity and beauty which a
wide river lends to a city. The little Manzanares
is not an imposing flood. It can scarcely rank as
a river. The handsome Puente de Toledo spans
the stream, and gives a touch of the picturesque
to its muddy flow ; and there is also the well-con-
structed Bridge of Segovia, with many arches.
These gave rise to the now venerable joke that
it would be better to seU the bridges and buy
some water with the proceeds.
Several writers have declared that the seat of
GENERAL IMPRESSIONS 5
the Spanish Court is not typical of the cities of
Spain. This may be accepted as true in the sense
that it has very httle to show in the nature
of antiquities. Segovia, Toledo, Avila, Burgos,
Seville, Cordova, and Granada possess more in-
teresting and romantic memorials of the past
than the city of Madrid. Nevertheless, the
Castihan capital has associations with days of
immense moment in the history of Spain, and
it is moreover one of the handsomest towns in
the Europe of to-day ; and whatever else is
wanting in Madrid, it boasts of a priceless
collection of some of the world's masterpieces
of painting. Only here can one realise the
greatness of Velazquez, and appraise the genius
of Goya. Its Royal Armoury, too, is the finest
in the world.
That Madrid has modelled itself upon Paris is
not to its discredit. The city manifests the
modern spirit in Spain rather than the mediaeval
atmospheres. It does not live upon its past
like Cordova and Toledo. Madrid aspires to
be a progressive modern municipahty. The
streets are broad, the system of hghting is modem,
there are electric tramcars, motor-cars, and
London and Parisian vehicles in the thorough-
fares. The streets are deluged with the fire-hose
6 MADRID
three times a day, and the nuisance of the dust
is thereby abated.
A good supply of wholesome water is a boon in
this arid district, but it must be admitted that
Madrid is not too well off in this respect. The
plazas are adorned with trees, and there are
public parks, gardens, and open spaces. The
EngUshman, the Frenchman, and the German
feel at home in this cosmopolitan centre ; and
yet everywhere there are the signs of Spain, the
essential characteristics of a Southern people,
as shown in courtly manners, mode of living,
amusements, dress, and racial temperament.
To say that Madrid is an attempted replica of
Paris is scarcely a fair description of the city.
Madrid has an aspect and a character of its own.
Its gaieties are tempered with Castilian restraint.
The business of the city is conducted without
bustle ; the diversions are matters of importance,
and they are keenly enjoyed ; but the Madrileiio
is not so vivacious and hilarious as the Parisian.
Even here, in the hub of modern Spain, the
Spaniard exhibits his placidity and patience. He
is not given to hurry. The express train, which
travels at a speed of twenty-five miles an hour, is
fast enough for him, and he will get up in the early
morning to catch it. Yet life in Madrid is
GENERAL IMPRESSIONS 7
decidedly animated, even if it is the pursuit of
pleasure and not of wealth that occupies its
inhabitants.
And yet there is trading and speculating in the
city, and merchants contrive to build up busi-
nesses, and shopkeepers thrive, and occasionally
make large fortunes. But the aim is rather
to enjoy hfe than to " push " and " hustle "
in the hope of accumulating dollars by middle
age. In fine, the art of contented enjoyment is
discreetly cultivated in Madrid by all classes.
Valdes, in his novel " Froth," tells us how the
" smart set " and the fashionable idlers of the city
pass their days, and the picture is not unhke the
life of our o\vn West End society. But sentiment
is a luxury for which the rich are prepared to pay
a high price. You may see beautifully furnished
houses deserted and allowed to fall into ruin
by the owner, because his loved wife or child drew
their last breath there, perhaps years ago.
No, despite the tramcars, the modem air of the
streets, and the London and Parisian fashions in
dress, you cannot fail to realise that this is a
Spanish city. Look at the workman, in his canvas
blouse and drill trousers, with the boina on his
head and hemp-soled canvas shoes upon his feet ;
or the work-girl, with a rose in her hair and a fan in
8 MADRID
her hand. These are tj^pes of Spain, distinctive
in their social ideals, their garb, and their phy-
siognomy. Now and then, a peasant from the
provinces is seen rubbing shoulders with a grandee,
clad in the costume of Piccadilly. The contrast
is sharp ; the man about town and the field-toiler
might be natives of two different countries, for
the wear of the peasant is more African than
European. His feet are in sandals, his legs bound
with linen, his head tied up in a kerchief, and his
body clothed with white cotton. And around his
waist is a broad, gay silk sash, in whose voluminous
folds he conceals his money and his keen-edged,
long-bladed navaja.
How antiquated, too, in British eyes is the ox-
cart, heavy and ramshackle, with its squeaking
wheels, and pair of bullocks under the carved
wooden yoke ! And the mule-teams — the gaunt,
bony beasts, in Moorish-looking harness, with
janghng bells around their necks, and the quaint
devices of the clipper upon their coats, attended
by swarthy men in knee-breeches and short
jackets, with the peaked Castilian hat upon their
cropped heads — these surely are of the days
when Don Quixote rode on the great grey
wastes of La Mancha, accompanied by his loyal
Sancho.
GENERAL IMPRESSIONS 9
Old Madrid is rapidly disappearing. One of
its confines was formerly the Puerta del Sol, which
is now almost in the centre of the city. The gate
is no longer in existence, but the place in which
it stood still bears its name, and is the focus of the
city's life. Ancient purheus were situated to
the east of the royal palace ; to-day scarcely
any of the alleys and small squares remain,
though here and there you may note a quaint
comer or an old house.
From the Puerta del Sol the chief thorough-
fares of Madrid radiate. The Calle de Alcala,
the CaUe del Arenal, the CaUe Mayor, and the
fashionable Carrera de San Jeronimo branch
from this central square. In the Puerta del Sol
stands the Ministerio de la Gobernacion, a large,
but not architecturally notable, edifice. Here
also are the chief hotels, cafes, and restaurants.
In the CaUe de San Jeronimo are the best
shops. Every one comes to stroll, lounge, and
" to take the sun " in this bright, busy space in
the heart of the city. It is the Piccadilly Circus
of Madrid. AU the types of Madrid's population
may be seen here from the buU-fighter to the
great legislator. American and Enghsh tourists
mingle with the throng ; German commercial
travellers talk business to their customers on the
lo MADRID
seats outside the caf6s ; and one hears several
languages spoken in the hotels.
In the Buen Retiro and the Parque de Madrid
you may study the beau monde of the city from
the shade of the trees during the afternoon parade.
Here there are over two hundred acres of pleasure
grounds, more or less unkempt, but containing
a fine avenue, paths, and umbrageous trees. The
upper classes of the city delight in riding and
driving. It is necessary to own a carriage and
pair in order to figure in Madrid society, and the
hobby of motoring is on the increase here as else-
where in Europe. In former times the Buen
Retiro was a royal demesne. Kings of Spain
from Philip II. to Charles III. resorted to this
pleasaunce, and a palace stood in the gardens.
Nowadays, the Parque is a public pleasure resort,
used by high and low, and often merry with a
carnival or a battle of flowers. The Royal Palace
overlooks the Manzanares, and dominates the
city. It is in form a huge quadrangle, designed
by Sachetti. The views from its windows are
wide and impressive, and an idea of their beauty
may be gained from the balcony near the Royal
Armoury. Behind the palace is the Campo del
Moro, a lovely garden on the spot where Ibn
Yusuf besieged the old Alcazar. Only the
GENERAL IMPRESSIONS ii
privileged are permitted to enter this verdant
sanctuary.
In an interesting book, "A Year in Spain,"
written by a young American in 183 1, there is
a picture of the daily life of Madrid which may
serve to illustrate the day's round among the
leisured in the city of to-day : " The first thing
in the morning was to arrange and order every-
thing for the day. Then each took the little
higada of chocolate and panecillo, or small roll, of
the delightful bread of J^Iadrid. This meal is not
taken at a table but sitting, standing, or walking
from room to room, and not unfrequently in bed.
This over, each went to his peculiar occupations ;
the old woman, with her Diarios and Gacetas, to
open her reading-room in the entry ; Florencia
to ply her needle ; and Don Valentin to play
tinker overhead, having first taken out his flint
and steel, and cigar and paper, to prepare his
brief cigarillo, which he would smoke, with a sigh
between each puff, after those days of liberty
when a cigar cost two cuartos instead of four.
Towards noon he would roll himself in his capa
parda — cloak of brown — and go down into the
Puerta del Sol, to learn the thousand rumours
which there find daily circulation. If it were a
feast day, the Mass being over, he would go with
12 MADRID
his daughter to the Prado. At two the family
took its mid-day meal, consisting, beside some
simple dessert, of soup and puchero, well-seasoned
with pepper, saffron, and garlic. If it had been
summer, the siesta would have passed in sleep ;
but it being winter, Don Valentin took advantage
of the short-lived heat to wander forth with a
friend, and in the evening went to his tertulia, or
friendly reunion. In summer, one, or even two
o'clock, is the hour of retiring ; but in winter it
is eleven. Always the last thing before going to
bed was to take a supper of stewed meat and
tomatoes, prepared in oil, to sleep upon."
Although this is a fair account of the inactive
life of Madrid, it must not be supposed that no
business is done in the city. There are compara-
tively few manufactures ; but there are many
shops, and a great share of the produce of Spain
is brought into the capital. Tobacco and metal
ware are the principal manufactures, and there
are a large number of craftsmen who work in-
dependently at various trades. Madrid is more
a centre of merchants and shopkeepers than of
manufacturers.
George Borrow came to Madrid, on his Bible-
distributing mission, and lodged in the Calle de
la Zarza, " a dark, dirty street, which, however,
GENERAL IMPRESSIONS 13
was close to the Puerta del Sol, the most central
point of Madrid." Borrow went to see two
criminals strangled, and gathered some vivid and
lurid impressions of the life among the manolos,
" the rabble of Madrid." He declares that the
walls of the city enclose " the most extraordinary
vital mass to be found in the entire world," and
claims Madrid as essentially Spanish. This is
true only if we have regard for the fact that the
metropolis of Spain has stiU a character of its
own, and is in many respects more " European "
and modem than Seville, Cadiz, Malaga, and
Granada. In Cordova and Toledo we are re-
minded at every step of the influence of the
Morisco, but in Madrid we recall the Spain of
Charles V. and of the Bourbons.
Since 1836, Madrid has been a University
city. The academy founded at Alcala was
transferred here at that time, and to-day there
are about eight thousand students. The Real
Academia de Bellas Artes was founded here to-
wards the middle of the eighteenth century.
Several fine examples of the art of Murillo are in
the gallery of the Academy, and there are also
works by Ribera, Rubens, Zurbaran, and Alonso
Cano. Besides these institutions there are the
Academy of History, the Academy of Science,
14 MADRID
the Academy of Medicine, and a number of other
learned societies.
The Museum of Modern Art contains only a
few paintings of importance, but there are some
notable pictures by Fortuny, and a few pieces of
modern sculpture. The great treasury of art,
the Prado Gallery, is fully described in a separate
volume of this series. It is the greatest glory of
Madrid.
The Naval Museum will recall the past mari-
time supremacy of Spain. In the National
Library there are nearly a million books and a
large number of manuscripts, including the beauti-
ful, illuminated Gothic work dating from the
tenth century, a thirteenth-century Bible, and
the Siete Partidas of Alfonso the Learned. The
National Museum of Archaeology contains a very
interesting collection of Roman, Gothic, and
Moorish antiquities.
It would be difficult to find a word which would
convey a true impression of a town, but if we were
limited to the employment of a single term to
describe Madrid, rococo would suggest itself. The
capital is elegant, fanciful, and yet stately. It
does not smile like Seville, nor frown hke Toledo,
and yet it is neither sad nor stem. Granada and
Cordova sleep. Madrid never seems to slumber ;
GENERAL IMPRESSIONS 15
it is one of the most restless places upon the earth.
It has the dignity of Castile and the frivolity of
Paris ; it exhibits the congestion of London in
parts within its gates, but it has no dingy, sunless
slums, and few signs of an ugly indigence.
There is the luxurious Madrid of the aristocracy
and the hidalgo, the Madrid that Uves for fashion
and pleasure, and there is the Madrid of the shop-
keeper and the lower middle class. Beneath these
strata are the wage-earners, the mechanics and
labourers, a frugal and usually industrious com-
munity. There is also the Madrid of a large non-
descript class composed of mendicants, thieves,
hawkers, and the rabble and derelicts of societ3^
There is the Madrid of the casinos, some in-
tellectual, others merely social or sporting. The
city has its coteries of ardent poHticians, mihtary
men, financiers, reformers, freethinkers, revolu-
tionaries, and its societies of the scientific, learned,
and artistic. There is no specific character which
one can point to as typical of Madrid. One
passion is, however, manifest throughout all
classes — the love of bull-fighting. Seville is the
school of the torero ; Madrid is the scene of his
valour in the arena. The bull-fighter is the idol of
the populace. In the cafes of the Puerta del
Sol, or in the ring of the Plaza de Toros, his figure
i6 MADRID
is one that arouses the deepest interest and
warmest admiration. An eminent jockey in
England has his host of admirers, but he cannot
command that universal respect which is accorded
to the espada in Spain. The great bull-fighter is
the pet of Madrid society, the demi-god of the
populace, the model of the " sports " of the city.
It is just as easy to lead the studious, contem-
plative hfe in Madrid as in London, if one elects
to be aloof. On the other hand, there is every
opportunity for gaiety, social amenities, and dis-
sipation. Madrid offers almost every kind of life
to its inhabitants. Its 540,000 natives, forming
Sorrow's " extraordinary vital mass," are quite as
motley as the population of Manchester. Madrid
is therefore neither a purely commercial, fashion-
able, pleasure-seeking, nor cultured centre. Bilbao
and Barcelona are the busy marts of Spain ;
Burgos, Salamanca, and Cordova subsist, as it
were, upon the grandeur of the past, and you
wonder how the people live. But Madrid throbs
with life, and manifests the new ideals and
views of the country in the domain of pohtics,
in social reforms, in the arts and sciences, and
in the diversions of society. In the realm of
thought, the new Spain has its impulse and
its centre in Madrid. Barcelona has been called
GENERAL IMPRESSIONS 17
" the life of Spain," and in the commercial
sense this is true. Yet Barcelona boasts of a
strong affinity with France, and a geat part of
its trade is in the hands of foreigners. It is from
Madrid that one may expect the impetus of a
patriotic, national, and racial advancement, based
upon culture and the recognition of the principles
of social liberty.
B
II
THE HISTORY OF THE CITY
The records of Madrid before the tenth century
are extremely scanty, and the early history of the
city is largely conjectural. There is no doubt
that the Moors established a fortress here, and
called it Majrit ; but the Romans were in
possession before the Arab conquest of the ij
Peninsula, as certain tablets, discovered in
the city by Fernandez de Oviedo, serve to
prove.
Upon the disruption of the Khalifate the
town became subject to Toledo. Whether it
was reconquered before or after the faU of that
city, by Alfonso VI., is a vexed question. The
credit of taking the town is assumed by the
people of Segovia. At this time (1085) Madrid
was encompassed by a strong waU, stretching
from the Moorish Alcazar, now the Royal Palace,
to the Church of our Lady of the Almudena ;
thence to the street of Segovia by the Cuesta de los
Ciegos to the Puerta de Moros, and through the
18
HISTORY OF THE CITY 19
Calle Mayor and the Plaza de Oriente to the
Alcazar.
According to an old tradition, still accepted by
a part of the populace of Madrid, an image of the
Virgin of the Almudena, now in the possession of
the nuns of the Sacramento Convent, was con-
cealed by the zealous Christians, during the
Moorish occupation, in a tower of the city wall.
Three hundred years after the sacred image
was discovered and restored to the Church.
There is a similar legend concerning the sculpture
of the Holy Mother found at about the same date.
Upon the victory of Alfonso, the mosque was
purified and dedicated to the Virgen de la Almu-
dena, and on the site is the fine new Cathedral.
A mixed population of Christians, Jews, and Moors
hved within the city walls at this period, and the
staple industries were the making of hemp, hnen,
and cloth. One of the regulations of that day
referred to the muzzhng of dogs, as may be seen
from an inspection of the curious Fuero de Madrid,
which is preserved by the municipal authorities.
The city is mentioned only occasionally in
Castilian annals. Sancho el Bravo in vain
sought health and strength from its bracing air.
Under Ferdinand IV. the Cortes first assem-
bled in Madrid, to meet there again in 1335 under
20 MADRID
Alfonso XI . The townsmen warmly espoused the
cause of Peter the Cruel. In 1403, Henry III.
sent from the city an embassy to Persia, under
Gonzalez Clavijo, to negotiate with the potent
warrior sovereign Tamerlane. The emissaries
were absent from Spain for two years, and dur-
ing the journey they visited Constantinople and
Samarkand.
John II. and Henry IV. hved in the Royal
Palace, and encouraged many poets of Castile who
were of their retinue. It is proved by municipal
documents that Madrid was not then so insanitary
and neglected as some writers have stated, for
there were rules for the disposal of refuse, and an
order was made for the paving of some of the chief
streets.
Upon the death of Henry IV., a faction sup-
portmg his daughter, Juana (who is said to have
been born here), seized the Alcazar, and held it
for several weeks against the Duque del Infantado.
Isabella, however, bore the town no grudge, and
during her brilliant reign its prosperity increased
by leaps and bounds. It remained loyal to the
crown during the Comuneros rising, and was
rewarded by a visit from Charles V. in 1524.
He had taken a fever, and at the advice of his
physicians, came to Madrid to regain health in
HISTORY OF THE CITY 21
this elevated, bracing region of Castile. A year
after, he was in conflict with Francis I, of France,
and the French king was a captive in Madrid,
Attended by a few members of his Court, Francis
occupied a room in the old palace, then known
as the Alcazar. There is no doubt that he
suffered keen humiliation during this detention,
and that he was harassed by fears for the future.
His gaoler was Alarcon, the valorous commander
of the Spanish infantry, who appears to have
treated his royal prisoner with courteous con-
sideration.
When Francis heard that the Emperor desired
that he should relinquish all claim to Italy and
yield Burgundy, he seized his dagger, and swore
that he would rather die than consent to the terms.
And although Alarcon restrained him from plung-
ing the dagger into his body, the King avowed
that he would sooner suffer hfelong imprison-
ment than bear the disgrace of gaining freedom
by the loss of power and dignity.
Lying on his bed, surrounded by counsellors,
the French sovereign sank into a condition of
fever and extreme depression. At length he
declared his willingness to yield.
By the famous Treaty of Madrid, which was
signed in 1526, Francis I. abandoned his rights
22 MADRID
over parts of Italy and certain portions of Hol-
land and Belgium. The compact was solemnly
celebrated at a religious service, and the French
and Spanish monarchs passed a few days together
before Francis crossed the frontier of Spain.
No sooner had he passed over the Bidassoa
than Francis cried : " I am yet a king ! " Never
had he intended to keep to the terms of the Treaty
of Madrid. His breach of faith alarmed Charles,
who sent Lannoy and Alarcon to France as his
emissaries. Their errand was unavailing ;
Francis offered a sum of money to the Emperor,
but refused to cede Burgundy. And so the bitter
feud between Charles and Francis was continued.
Charles V. was a singular example of weakness,
of obstinacy, and of reason, with a bias for right
and justice. He delighted in the quietude of
Aranjuez, and was fond of directing the work
of the gardeners. The emperor was athletic in
his early manhood, and addicted to field sports.
He loved the sights and sounds of wild nature,
and took pleasure in roaming the forests.
During his visits to Italy, he went to see many
famous pictures, and paid homage to Titian. His
versatility was also exhibited in his great taste
for music and his knowledge of the technique of
the art.
Ii
HISTORY OF THE CITY 23
He it was who first conceived the project of
elevating Madrid to the rank of capital. It was
left, however, to his son to promulgate the de-
cree declaring the town to be unica Corte. The
document, dated 1561, has unfortunately been
lost. Madrid had this advantage over Toledo,
Valladolid, and the other old capitals, that it was
not identified with any one in particular of the
kingdoms that made up Spain, but with Spain in
general.
Phihp II. held his Court at Madrid in 1561, but
he preferred the sohtude of his palace of the
Escorial. Under this monarch's rule the city
was enlarged, the streets ^videned, and several
squares built. At this time a number of the sur-
rounding forests were feUed in order to raise money
for the royal exchequer. Don John of Austria,
the natural son of Philip IV. by the beauti-
ful actress Calderona, hved in the Buen Retire.
In " The Lady's Travels into Spain," written in
1679, we read that it was against the custom
to permit the illegitimate sons of royalty to enter
Madrid. Don John was therefore confined in
the Buen Re tiro, " which is the Royal Seat at one
of the farthest Parts of Madrid, a httle without
the Gate." Here the prince led a secluded exist-
ence. " And he shew'd himself so Httle that he
24 MADRID
was never seen at any publick Feast during the
Life of the late King : but since, Times have
changed, and his Fortune stands on a different
bottom."
According to this very entertaining authoress,
Don John was of middle height, handsome, with
" a most manly countenance." His address was
polished and kindly, and he was reputed to be
well learned in the arts and sciences. He " took
a great pleasure in the Mathematicks." Madrid
at this time was renowned for the purity of its air
and water. The water was " so good and so light
that the Cardinal Infante would drink no other
when he was in Flanders ; and he caus'd it to be
brought by Sea in Earthen Jars well stop'd." The
streets of the city were poorly paved, so that the
horses often sank up to their knees and the coaches
to the butts of the wheels. There were no forti-
fications to Madrid at this period, and the gates
were not defended. Still, even at this time, there
were long and wide streets and many great houses.
Eating houses abounded, where the chief dishes
were beans, garlic, leeks, and broth. There was
very little drunkenness. Men drank less than
half a pint of wine during the day, and the
majority of women abstained altogether.
At this date it was the fashion to retain a large
HISTORY OF THE CITY 25
number of domestic servants. The Duchess of
Osuna kept about eight hundred attendants, and
every room seemed full of them. Only titled
persons were allowed to drive teams of four mules.
If a commoner dared to appear on the streets with
such an equipage, he was liable to a fine, and the
traces of his carriage would be cut. The king's
team consisted of six mules.
The daughters of high families in Madrid were
often placed in a sort of service to friends of their
relatives, who employed them in embroidery and
other needlework, for if the young women re-
mained at home they spent their time in idle
chatter. The farthingale was worn, and it was
often of a huge size, and exceedingly troublesome
to the wearers and to other persons. Some
women of fashion wore as many as a dozen skirts
and petticoats, except in the hot months, when
they contented themselves with seven or eight,
some being of satin and others of velvet. As the
dresses were cut low, it was the custom to rouge
the shoulders as well as the cheeks.
The ladies of Madrid society used at this time
to sit upon the floor, with their legs crossed in the
oriental fashion. They played ombre, took but
little outdoor exercise, toyed with their needles,
and read very little. At Mass the women carried
26 MADRID
enormous muffs, and each one had a fan, which
was used both in hot and cold weather.
The author who records these impressions of
Madrid was the Countess d'Aubioy. It is the
opinion of some modern Spanish chroniclers that
her accounts of the manners and customs of that
period are over-coloured and often incorrect.
It was in the reign of Philip III. that the first
part of Cervantes' " Don Quixote" was printed in a
house in the CaUe de Atocha, by Juan de la Cuesta,
and the great satire was published in 1605.
Philip III. removed the Court to Valladolid, where
it was maintained for about four years and then
reinstated at Madrid. During the rule of Philip,
the Plaza Mayor was built.
The reign of his successor was inaugurated
by the public execution of the unfortunate
Calderon, whose fall has been the theme of
many romances.
The marriage of the Infanta Maria, sister of
Philip IV., to Charles of England was arranged
to be celebrated in Madrid, in March 1623.
Charles stayed in the Convent of San Jeronimo,
and afterwards at the Royal Palace, where he
remained for five months, and was entertained
with buU-fights, fetes, and balls. The English
prince was, however, prevented from marrying
HISTORY OF THE CITY 27
the Princess Maria through hindrances of a poli-
tical nature.
Phihp IV. built the Palace of the Buen Retiro
at Madrid, inspired by the example of Fontaine-
bleau. In this new royal residence many balls
were held, and much money expended upon
festivities of a very luxurious character. Mean-
time, the scaffolds of Madrid flowed with noble
blood, as a result of the abortive conspiracy to
place the House of Braganza on the throne of
Spain and the Duke of Medina Sidonia on that of
Andalusia,
Madrid suffered from the general distress which
spread over Spain at this period. In the sur-
rounding villages the people were at the point of
starvation, and the food supply in the city was
seriously threatened. The outlook was so menac-
ing that, in 1664, the President of Castile was
sent with a mihtary force to compel the farmers
to send their produce to Madrid. In 1680 there
was much destitution and suffering in the city,
and the people rose and formed bands for the
purpose of pillage. Beggars swarmed in Madrid,
and desperate gangs of robbers prowled in the
surrounding country.
The change from the Austrian to the Bourbon
rule proved the salvation of Madrid. Charies III.
28 MADRID
was an enlightened sovereign, honest in his con-
victions, and vigorous in his measures of reform. ;»
He improved the army, and raised the position of
Spain to a first-rate power. His pohcy in regard
to the American colonies was liberal and con-
ciliatory. Charles repealed unjust taxes, stood
champion to the poor man, and advocated
humane principles of government. He encouraged
the sciences, art, and letters of Spain, he protected
the press, and gave printers immunity from
military service. During the rule of Charles HI.
schools and colleges were founded. He improved
and adorned Madrid, though at one time he
entertained the idea of transferring the seat of
government to Seville ; and caused parks and
promenades to be laid out. Under the direction
of this monarch, canals were constructed, roads
made, waste lands reclaimed, and industries
stimulated.
The people of Madrid have every reason to
respect Charles HI. To his initiation they owe
the fine Customs' House, the Prado Gallery, the
General Hospital, the Alcala Gateway, the Ob-
servatory, the Botanical Gardens, and the Natural
History Library. These and other institutions
and public buildings were established and erected
during the reign of this excellent king.
\
HISTORY OF THE CITY 29
The history of Madrid becomes merged in that
of the kingdom. The lead taken on the " Dos de
Mayo," 1808, when the Puerta del Sol and the
adjoining streets were held with dauntless but
futile courage by the people of Madrid against
the French, was the signal for the uprising of the
whole country against the intruder. The capital
had well deserved its headship by its vindica-
tion of the nation's dignity and independence.
Every episode in its troubled history since that
memorable day has been described vividly and
inimitably by the great epic novelist, Galdos.
Throughout the nineteenth century, the city had
its full share in the vicissitudes and discord,
which so happily terminated with the accession
of King Alfonso XII. and the establishment of
the strongest and most enUghtened government
Spain had known for centuries.
The Chevalier de Bourgoanne, who recounted
his " Travels in Spain " in 1789, said that Madrid
contained at that time eighteen parishes, thirty-
five monasteries, thirty-one convents, thirty-nine
colleges, fifteen gates, and about 140,000 in-
habitants. The number of inhabitants now
approaches 600,000, Since the eighteenth century
Madrid has extended its confines on all sides,
and grown into a modern city of the first rank.
30 MADRID
The walls, never a very formidable defence,
were taken down in 1868 to enlarge Madrid. At
this time the new Plaza de Toros was erected,
the Puerta del Sol widened, and the viaduct
built across the Calle de Segovia. The streets
are now well paved with stone or asphalte,
and illuminated with gas and electric hght. The
chief market is in the Plaza de la Cebada, built
in 1870.
In several of the squares and promenades there
are fountains, statues, and monuments. One of
the finest of the monuments is that erected in
memory of the heroes of the Dos de Mayo (the
Second of May). It is of granite, in the shape of
an obelisk, surrounded by symbohcal figures.
This monument was designed by Isidro Velazquez.
A marble group in front of one of the fa9ades of the
Museo del Prado represents Daoiz and Velarde,
the gallant artillery officers who fell on that
occasion in defence of the throne and country.
Madrid has always been a city of craftworkers
and small traders, and even to-day there are very
few large industries or factories. There are many
small employers of labour and many persons
trading with their own plant and stock, and finding
employment for their own famihes. The number
of well-appointed shops is steadily increasing, and
^
HISTORY OF THE CITY 31
there is an effort to compete with the large shops
of Paris and London, as will be seen during a stroll
through the chief thoroughfares radiating from the
Puerta del Sol.
The arms of the city are a tree in leaf, with a
bear climbing up the stem, and the escutcheon
is surmounted by a crown. Madrid bears the
title, " Imperial y coronada, muy noble y muy
leal y muy heroica."
Ill
THE COURT AND SOCIETY IN MADRID
Since the reign of Philip II. Madrid has been the
unica Corte, or seat of the Court of Spain. Before
the twelfth century, a Moorish Alcazar stood on
the site of the present royal palace, which was
built by Henry IV., added to by succeeding
monarchs, and considerably enlarged by Philip
III. The original architects were Herrera, Toledo,
and other famous designers of the day ; but this
structure was burned down, and, in 1738, Giovanni
Sachetti planned a stiU larger palace, which is
said to have cost £3,000,000 in the building and
embeUishment.
The modern Palacio Real is rectangular, and
stands on an eminence commanding a wide view
of the undulating tableland and the distant
mountains of Castile. It is built of granite and
has wide wings. The chief faQade is on the south
side. The Princes' Entrance is one of the several
doorways of the fine fa9ade. On the north is
another portal of admirable design, leading to the
great patio or inner court. The court is sur-
32
COURT AND SOCIETY 33
rounded by a piazza on thirty-six arches with the
same number of arches above, forming a gallery ;
and in the square are statues of the Roman
Emperors who ruled in Spain.
The grand staircase is of white and black marble,
with an allegorical ceiling painting by the Italian
Giacinto. In the sumptuous Throne-Room the
appointments and decorations are resplendent,
and on the ceiling is a picture representing the
Majesty of Spain, painted by Tiepolo. Gasparini
designed the beautiful ball that bears his name,
where the ceiling is of porcelain, and the walls
decked with satin upon which flowers are worked.
The State Dining- Room of marble contains fresco
paintings. The Royal Chapel has columns of
marble, and above the altar is a painting by Mengs.
Near the Sacristy are stored the holy rehcs ; and
in the Tapiceria there is a very fine collection of
tapestries after Dutch artists. Attached to the
Royal Palace are the Armoury, of which some-
thing will be said later, the Royal Stables, excel-
lently appointed, and the sequestered and beautiful
gardens.
Such is the principal residence of King Alfonso of
Spain. The royal ceremonial is under the direc-
tion of the Master of the Household and the Lord
High Steward. These officers are always persons
34
MADRID
of high birth, who are invested with the honours
of the Order of Charles III. and the Golden Fleece.
The Chief Equerry of the royal household takes
the position of Master of the Palace when that
functionary is absent, and controls the King's
hunt, and directs several minor officials of the
Court.
The Chief Chaplain to the King is the Arch-
bishop of Toledo. One of the principal members
of the household is the Keeper of the Queen's
Wardrobe. Then come the Lords of the Bed-
chamber, Maids of Honour, and the Mayordomos
de Semana (of the Week) . The military officer in
command is the General of the Royal Halberdier
Guards, and this functionary presides over the
ceremony of opening the palace doors at six in
the morning and closing them at eleven at night.
In Spain the royal residences are regarded as
fortresses, and protected by troops.
The Intendant-General of the Royal House and
Patrimony holds a responsible post, and ad-
ministers the King's estates and incomes. Other
officials are the Private Secretaries, the Director
of the Royal Stables, the Chief Physician, the
Chief Chemist, the Chief Architect, the Secretary
of the Signet, the Secretary of the High Chamber,
Keeper of the Archives, the Chief Librarian, the
COURT AND SOCIETY 35
Director of the Royal Armoury, and the Chief of
the Tapestry Collection, The gentlemen of the
Royal Household wear a badge of office in the
form of a silver key, and are clad in special uni-
forms for various occasions.
Pomp and ceremony attend the movements of
the Spanish sovereign, and there is an elaborate
" Court Guide " embodying all the ordinances
and regulations governing the life at the palace.
The rigidity of etiquette in the Court of Spain has,
however, been exaggerated in the accounts written
by strangers since the time of the Countess
d'Aulnoy, for a modem Spanish writer asserts
that the Court is " more democratic than most
European Courts."
This writer says : " Almost all the points of
etiquette observed at present by the persons who
have access to the King and Queen and members
of their family are merely formulas of pure cour-
tesy, with which those who are aware of them
comply, but which are not imposed at the Palace,
nor even mentioned to those who do not know
them. Taking the glove off the right hand in
order to shake hands with the King ; treating
him as is his due ; rising when he rises and not
speaking to him except in reply to his questions ;
these are the chief points to be observed, and
36 MADRID
which courtiers themselves sometimes forget with-
out any notice being taken."
Religious services and festivals are strictly
observed in the Palace of His Catholic Majesty,
and attended by all members of his Court. The
chief solemnities are the Festival of the Immacu-
late Conception and Nativity, Epiphany and Puri-
fication, Ash Wednesday, Annunciation and In-
carnation, Palm Sunday, Holy Thursday, Good
Friday, Easter Sunday, Ascension Day, Whit
Sunday, Holy Trinity, Corpus Christi, All Saints,
and the Patronage of our Lady. The public are ad-
mitted to the galleries of the Royal Chapel during
the celebration of these festivals and services.
Uniform or court dress is worn by the King
at these religious celebrations, the Queen always
wearing a black or white mantilla, and a long
train to her dress, which is borne by pages. The
sovereign sits under a canopy, and the princes and
princesses are on either side of the throne. Each
grandee of the Court has his allotted seat.
The royal infants are baptized from a font in
which St Dominic, the immortal founder of the
Friars Preachers, was christened. In the Royal
Chapel of the Palace the weddings of the princes
and princesses are celebrated, but the Kings
are married in the Church of the Atocha.
.
COURT AND SOCIETY 37
Foreign ministers are received in the Ante-
chamber. There is an annual banquet for all the
Diplomatic Corps. One of the court ceremonies
is the conferring of the title of Grandee in the
Ante-chamber.
Every night the Spanish monarch is guarded
in his slumbers by the ancient corps of Monteros
de Espinosa. These officers are bound to watch
the King nightly, and after his death, until his
body is sent to the Royal Panteon at the Palace
of the Escorial.
The changing of the royal guard takes place
every morning in the grounds of the palace, and
is an interesting military spectacle, which attracts
a large number of the natives of Madrid as
well as visitors to the city. It dates from the
time of Charles III. A regimental band plays
during the ceremony under the windows of the
palace.
The Queen Mother of King Alfonso XIII. is
possessed of strong religious fervour, and is a
pattern to Madrid society in the observance of
the rules of the Church and the practice of charity.
But piety is not one of the Madrilefio's con-
spicuous traits, and there is a notable want of
restraint in his language ! yet Valentin Gomez
writes : " Religion is charity, love, and it cannot
38 MADRID
be denied that, in this respect, althoagh the
crust be hard and unsightly, the heart of Madrid
is rehgious, and great and good work has sprung
from its practical rehgion."
Ecclesiastical festivals form an essential part
of the life of Madrid. The Forty Hours is cele-
brated at thirty churches of the city. During
Holy Week there are impressive services and
solemn processions in the streets. Every one
walks garbed in black ; diversions of every sort
and all except indispensable business is sus-
pended. A solemn hush reigns over the feverish
city. Traffic in the thoroughfares is forbidden
on Maundy Thursday and Good Friday, and the
tramcars do not run during certain hours. On
Maundy Thursday the King washes the feet of
twelve indigent men and women in the palace,
and the public attend the ceremony. Good
Friday is a day of grace, when the King, at his
discretion, exercises clemency towards criminals
accused of capital charges.
A romeria or pilgrimage is celebrated in the
morning of Good Friday, when crowds visit the
Cara de Dios, and afterwards promenade the
streets. Imposing processions also take place on
Good Friday, which are sometimes attended by
the King and the Court dignitaries.
COURT AND SOCIETY 39
The Corpus Christi festivals are very important.
A splendid procession is formed by the chief
clergy, members of the court, and military officers.
During these celebrations, fairs are held in the out-
skirts of the city. There is a curious ceremony
in memory of St John during June. On the
evening of June 23, the populace assemble in the
Plaza de Madrid, and at the stroke of midnight
the devout dip their hands in the fountain of
Cybele, and scatter the water over the bystanders
who are unable to reach the basin.
Advent is commemorated by the proclamation
of an ecclesiastical decree in the streets of the
city. This Bull refers to the Crusades, and
is read by a dignitary of the Church, who is
attended by guards and trumpeters. Upon
Christmas Eve there is midnight Mass at many of
the churches, followed by rejoicings in the streets,
when the people sing, and beat drums, and make
Hvely din with various instruments.
Madrid is an important mihtary command,
and members of the service are amongst the most
fashionable sets in the city, as in other parts of
Europe. In Spain, however, the uniform does
not of itself confer social distinction, and officers
continue to frequent the circles from which they
were drawn. Mihtary arrogance is not a char-
40 MADRID
acteristic of the Spaniard. Uniforms add to
the brightness of the crowds in Madrid, and
there is often the sound of regimental bands
in the streets. At Caravanchel, eleven kilo-
metres from the city, is a large camp and exercise-
ground for the troops, where important reviews
are held in the summer, attended by the King
and his suite.
The Captain-General of the First Army Corps
lives in Madrid, and directs two divisions of this
body. Light infantry, cavalry, and artillery are
quartered in or near the city. The chief barracks
are the Montana and the Queen Maria Cristina.
The barracks of San Francisco are an old convent
now utilised for military purposes.
The War Office is in Madrid at the Buena Vista
Palace. The artillery and the engineers have
their museums and laboratories, and there is
a military casino, or club, in the city, containing
a gymnasium, baths, fencing-room, and dining-
haU.
The chief recreations of Madrid society are the
bull-fight, the theatre, dancing, driving, and card-
playing. The national pastime of bull-fighting
demands a chapter to itself, and the theatre will be
treated in another section of this volume. We
may here devote a page or two to Spanish dancing,
I
COURT AND SOCIETY 41
one of the favourite and most charming diversions
of the country. Every province of Spain has its
traditional dances, from the Jota Aragonesa of
Aragon to the Seguidillas of Seville. Andalusia
is the region of Moorish dances, survivals of the
old days, descriptive of the passion of love. The
Cachucha is said to be pre-Roman in its origin, and
there is no doubt that most of the national dances
are very ancient. Some of these dances are grave
and slow, others gay and nimble, and all are
marked by grace and chttrm. The Zarabanda, a
Morisco dance of a voluptuous character, was at
one period proscribed by the government, and was
said to be the invention of the devil. The Fan-
dango also came under reproof in former times.
Typical dances may be witnessed in two or
three of the variety theatres of Madrid, but the
best dancers are to be seen in the south, in Malaga
and sunny Seville. Many ladies in society excel
in the art of dancing, and at private gatherings
they display their skill and lissom grace in beauti-
ful movements to the accompaniment of the piano
or guitar, and castanets. The hands and the trunk
of the body play a no less important part than the
feet in Spanish dancing.
Besides the characteristic national dances, there
are the quadrilles and set dances of other countries
42 MADRID
which have been introduced into Spain. The
minuet was at one time a part of the education of
all upper class families in the Peninsula.
Dancing is often part of the entertainment pro-
vided at the tertuUas, or evening gatherings, in
fashionable society. It is the ambition of every
handsome lady in Madrid to be famed for her
hospitality and to shine as the centre of a ter-
tulia, an institution suggestive in some measure
of the salons of France.
Shooting, horse-racing, pigeon-shooting matches,
and the baU game known as pelota are the principal
out-door recreations of the leisured class in Madrid.
The Spanish cazador, or sportsman, is usually a
good shot, and capable of enduring severe fatigue
in the pursuit of his game. Wild boars and
deer are fairly abundant in the preserves of
the old families, and these beasts of the chase
are also found upon most of the wild moun-
tain ranges. Hares and red-legged partridges
afford sport within a league of Madrid, and the
Montes de Toledo have always been famous for
big game.
The Juego de Pelota is a popular game played
in three or four courts in the city by professionals.
Pelota is an old amusement of the countryside
which has become a fashionable sport. The
)
I* ,
COURT AND SOCIETY 43
Basques and the Navarrese excel in this game. A
protector for the hand is worn by the players, and
the balls are made of india-rubber encased in
leather. The ball is struck against a high wall,
and hit so that upon the rebound it will fall
into a court marked out upon the ground. In
some respects pelota resembles fives, and has
also a similarity to lawn-tennis. It is a spirited
and highly interesting game, and the finest
players may be seen in the public frontones of
Madrid.
The Madrilenos delight in frequenting clubs and
cafes, but there is very little drunkenness in the
city, although these places of resort are always
crowded. Madrid is one of the soberest cities in
Europe, and throughout Spain the word drunkard
[horracho) is seldom used in polite society. Black
coffee is the favourite beverage, to which a few
drops of spirit are sometimes added. The wines
of ordinary use are light clarets or white wines.
A light lager is a favourite drink in the hot
weather.
The popular caf6s of the Puerta del Sol are used
as clubs, where all classes resort to chat and smoke
and to read the papers, or to play at billiards.
These places are thronged in the evening, and often
until the smaU hours of the morning one hears the
44 MADRID
buzz of conversation and the click of billiard
balls.
As the centre of the Court and the residence
of the reigning family, Madrid is, of course, the
resort and the home of many members of the
aristocracy. The Duke of Lerma, the Duke of
Villahermosa, and the Osuna family had palaces
in the city ; and the first Duke of Alba lived in
Calle de la Princesa, since renamed the Calle de
Alba. The beautiful Liria Palace, designed by
Ventura Rodriguez, is now the home of the
young Duke of Alba and his brother and sister.
Count de Monti] o and Dofia Sol.
The Liria Palace contains some fine tapestries,
curious antique furniture, and valuable pieces of
armour. There is also a collection of paintings
in the possession of the family, containing many
portraits of illustrious ancestors. The garden
of the palace is extremely beautiful and se-
questered.
The old Valencian family of Cervello own
the palace in the Calle de Santa Isabel. The
building stands in a garden, and it was re-
stored some years ago. Very fashionable recep-
tions, costume balls, and theatrical entertain-
ments are held in this sumptuous palace.
The Duchess of Denia built the mansion in
COURT AND SOCIETY 45
the Plaza de Colon. There is a magnificent
Renaissance staircase at this palace, a chapel in
the later Moorish style of architecture, erected
by Arturo Mehda, and a fine reception hall.
The Portugalete Palace in the Calle de Alcald
belongs to the Castaiio family. It is one of the
most artistic houses in Madrid. In the Plaza
de Castelar is the home of the Marquis of Linares,
beautifully decorated within, and containing
handsome carved furniture.
The Palace of the Larios is another imposing
building in La Castellana. It contains a patio
in imitation of the Court of the Lions at the
Alhambra Palace.
Calderon built the mansion in the Recoletos,
which is now in the possession of the Marchioness
de Manzanedo, who resides there. The Infanta
Isabel has a splendid house in the barrio de
ArgiJelles. The Marquis de Cerralbo, the Duke of
Valencia, and the Count of Pefialver reside in
elegant houses in the city. The late Conde de
Valencia de Don Juan, who was Director of the
Royal Armoury, was a noted collector of pictures,
objects of art, and antiquities.
Other palaces of interest are those of the Duke
of Najera in the Calle de Alcala, the old residence
of the Countess de Pinohermoso, in the Calle de
46 MADRID
Don Pedro, the house of the Count de Agreda,
and that of the Marchioness de Casa Lopez,
near the Puerta de Alcala. The residence of
the Marchioness de Squilache is the rendezvous
of the eminent in pohtics, hterature, and art.
Artistic gatherings are held in the salon of the
Marchioness de Bolafios and that of Don Enrique
Peiialver.
IV
ART IN MADRID
In the fifteenth and sixteenth centuries, during
a pacific period following on the long conflict
with the Moors, there arose a number of painters
in Castile. Juan II., King of Castile, was a
lover of the arts and of literature. We read that
this king employed a painter of the Flemish
School, named Maestro Rogel, who was reputed
to be a pupil of Van Eyck. It was about this
time that Flemish art began to influence the
work of the Spanish artists, while the Itahan
style was especially followed by the painters of
the Castilian School.
Antonio Rincon has been called the founder
of the Castihan School of painting, and it is
recorded that this artist studied in Italy before
his appointment as court painter to Ferdinand
and Isabella. Rincon's portraits of his royal
patrons were at one time in the Church of San
Juan de los Reys at Toledo, but they were
destroyed during the wars with France. In the
Royal Gallery of Madrid, putative copies of
47
48 MADRID
these portraits are preserved, and they show
great force and individuality. But many of
the works of Antonio Rincon, in the mannered
Italian style, are of mediocre merit.
A more powerful painter of Castile was Juan
de Borgofia, who laboured with Rincon upon
the jasper steps of the wonderful Gothic retablo
in Toledo Cathedral. Some of Borgoha's frescoes
have perished ; but in the Prado Gallery at
Madrid there are several pictures, attributed to
an unknown artist, which are probably the work
of this painter.
Pedro Berruguete, father of Alonso Berruguete,
the painter and sculptor, has been likened by
Lord Leighton to Carpaccio. Very little is
known of Pedro Berruguete. In the Royal
Gallery of Madrid there are some paintings
ascribed to this artist, representing scenes from
the lives of Thomas Aquinas, San Pedro, and
Domingo de Guzman, glowing with colour and
painted with a strong hand.
Felix Castello, born in Madrid in 1602, was
a painter of moderate ability. Two of his paintings
may be seen in the Prado Gallery, one depicting
" A Battle between Spanish and Dutch," and
the other " The Landing of General Fadrique
de Toledo."
ii
ART IN MADRID 49
The Titanic genius of Velazquez shone not only
above aU his predecessors of the School of Castile,
but above the host of Spanish painters. Velazquez
was bom in 1599, and lived until 1660. He was
a native of Seville, where he studied art under
Francisco de Herrera and Pacheco. In 1623
his fame had reached the ears of the king, through
the Duke of Olivares, and Velazquez was ap-
pointed royal painter in Madrid, and lodged in
the princes' quarters of the palace. Here he
produced his greatest works, often watched while
he painted by the king, who enjoyed the society
of artists.
Besides his apartments in the royal palace,
Velazquez had later a private house in the Calle
de Concepcion Geronima. Velazquez was now
at the zenith of his fame, the cynosure of an art
circle, the acknowledged master of an enthusi-
astic following, the favourite of royalty, and
the friend of grandes. " A taste for the arts, an
intelligent appreciation and discussion of art
topics, had at that time already become a matter
of tradition in Madrid," writes Professor Carl
Justi in his " Diego Velazquez and His Times."
The first painting of Velazquez seen by the
people of Madrid was exhibited upon the door
of the Church of San Fehpe in the Calle Mayor.
50 MADRID
His progress from that hour was victorious,
though he had to encounter the envy of the
ItaUan painters who were then employed by
Phihp. Carducci speaks of " the detestable
naturalism " of the new court painter.
In 1628, Velazquez met Rubens at Madrid.
Next year he went to Italy, and upon his return
to Spain, he worked with extraordinary industry
upon royal portraits and historical scenes for
the regal palaces.
In 1636, Diego Velazquez was appointed
Wardrobe-Assistant to the King and Minister of
Fine Arts. But the greatest honour was ac-
corded to the painter in 1659, when he received
the Cross of Santiago, the highest order of Spain.
Two years after, Velazquez died at Madrid of a
fever, which he had contracted through over-
exertion in the conduct of an expedition in the
north of Spain, when Philip met the King of
France.
The masterpieces of Velazquez are stored in
a fine sala at the Museo del Prado^ in Madrid.
" Las Meninas," a work proclaimed by many
artists and art critics as the finest painting in
the world, is in this priceless collection. Artists
^ For a full description of the pictures in this museum, see
" The Prado," an illustrated volume in this series.
ART IN MADRID 51
from every country have regarded the Prado
Gallery as a Mecca. Wilkie came to Madrid,
and spent long hours gazing at the paintings of
Velazquez. John Philips modelled his style on
Velazquez, and Manet, Furse, Sargent, Whistler,
and Sir Frederick Leighton are among the pilgrims
to the Prado. It was probably the painting of
" Las Meninas " which gained for Velazquez the
Order of Santiago.
" The Forge of Vulcan," a mythological subject
treated in a realistic manner, is in the Prado
among the splendid collection of pictures of
Velazquez, besides the more generally esteemed
"Los Barrachos" and "Las Lanzas."
Velazquez had a host of successors among the
painters of Spain, but he founded no school, for he
stood alone and unapproachable. The works of
his survivors may be studied in the Prado Gallery.
One of these successors was Juan Bautista
Martinez del Mazo, Velazquez' son-in-law, and
another, Juan de Pareja, his slave. Pareja's talent
was discovered by the king, who said : "A painter
like you should not remain a slave," and freedom
was given to the Morisco serf of Velazquez.
In the work of Pareja the influence of his great
master is naturally manifest, and this is seen in the
picture in the Prado collection, " The Calling of
52 MADRID
the Apostle Matthew." It is certain that many
paintings ascribed to Velazquez are the work of
his son-in-law Juan del Mazo, who was a zealous
copyist of the master's art.
Juan Rizi, sometimes called the Castilian
Zurbaran, is represented by one picture in
the Madrid Gallery — " St Francis receiving the
Stigmata or Five Wounds of Christ," a work of
very considerable merit.
Antonio Pereda worked in Madrid under Pedro
de las Cuevas, and became painter to the Court.
Two of Pereda's pictures are in the Royal Gallery,
displaying fine colour, but yet possessing no power
to convince.
The next artist in chronological order who was
associated with Madrid was Carreno de Miranda,
another pupil of Pedro de las Cuevas, and the
Pintor de Camara to the Court. His talent
is most marked in his portraits of Charles II. ;
and his imitations of Velazquez though feeble
in comparison with the powerful work of his
exemplar, are of singular interest and merit.
Claudio CoeUo was a native of Madrid, and the
son of a Portuguese sculptor. Many of his paint-
ings are to be seen at the Escorial, where he
worked for seven years upon the famous " Santa
Forma " in the Sacristia. It is said that Coello died
I
ART IN MADRID 53
broken-hearted from the chagrin of being super-
seded by Luca Giordano, the facile Itahan painter.
With the advent of Giordano the essential reaUsm
of Spanish painting began to decline. " In
Madrid, imitation was the death-blow of reality,"
writes C. Gasquoine Hartley in her " Record of
Spanish Painting." Many minor artists arose in
Castile in this period of decHne. They were
followers of Giordano and other Itahans, and for the
greater part devoid of originality. The influence
of Mengs was another menace to the development of
a purely national school of painting in Spain, and
the unimportant work of Bayeu, Maella, Bamuevo
and others shows the waning of Castilian art.
A revival came with Francisco Goya, an ardent
genius, who sprang from the people, and came to
Madrid as a student. Goya studied the master-
pieces in the Madrid galleries, visited Italy, and
returned to the Castilian capital at about the age
of thirty. Up to this time, Goya had painted but
few pictures. Now he began his revolutionary
career as an artist, and won fame, which has
spread throughout the cultured world since his
death. He soon became popular in Madrid. His
daring and his pungent satire rather attracted than
repelled the King, the clergy, and the society of the
city. He painted the life of his day with a vivid,
54 M.DRID
unsparing brush ; h took liberties with even
sacred institutions, ad derided ancient and effete
traditions.
Under Charles IV. Goya was appointed Royal
Painter. He was a favourite of Queen Maria
Luisa, the Duchess 4 Alba, and the Countess
Benavente, and he e joyed the confidence of the
King. And yet Gov was a rebel in his opinions
and in his art, and is royal portraits are char-
acterised by a brutalfrankness. In his tapestry
designs, his scenes oMadrid life, his bull-fighting
incidents, his portras, and his " caprichos," he
displays the versatity of a remarkable mind.
Goya worked rapily, and his output was
enormous.
The celebrated 'Dos de Mayo," a terribly
realistic war picture together with "An Episode
in the French Invaion," may be studied in the
Royal Gallery at Marid. In the Prado collection
there are several of -oya's royal portraits — " The
Family of Charles IV.," with its unflattering
realism ; " Charles V. on foot " ; " Queen Maria
Luisa " ; " The Infnte Don Carlos, son of Carlos
IV." ; and others A great interest. More of
Goya's works may b inspected in the Academy of
Fine Arts at Madric These include a portrait of
the painter by hirrelf, a bull-fighting scene, an
ART IN lADRID 55
episode of the Inquisit)n, a procession, and
other characteristic pictuss.
When Joseph Bonapart ruled in Madrid, Goya
took the oath of fealty, ad painted the usurper's
portrait. In 1814, the paiter became a courtier
of Ferdinand, and was padoned for his disloyalty
on the grounds that he ws " a great artist." A
few years later, his wife Josfa died, and Goya, who
was deaf, and bereft of may of his friends, seems
to have wearied of the life i the Court at Madrid,
and yearned for change ari travel.
In 1822, he obtained te royal permission to
visit France. He went fst to Paris, where he
was hailed by the young Yench painters, after-
wards residing at Bordeux, where he stayed
for nearly five years befce returning to Spain.
In 1828, his restless spirit assed away.
Perhaps the finest of Gaa's portraits are those
of the king and queen a horseback. It was
Gautier who remarked of Gya that at times " he
paints with the delicacy o that delicious Gains-
borough, at other times hehas the solid touch of
Rembrandt." Goya was ne of the first of the
modems, an artist who roke from cramping
tradition, and forced his -ay to eminence and
even to popularity in a few ears.
There is a long gap in th art history of Spain
56 MADRID
between Francisco Goya and Fortuny. Mariano
Fortuny was not a native of Madrid, but he came
to the city in 1866. There are two of his pictures
in the Museum of Modem Art in Madrid. One is
a sketch for the " Battle of Tetuan," and the other
" The Queen Regent with Dofia Isabel exhort-
ing the Spanish Troops to withstand the Carlists."
Between Goya and Fortuny there are no Hnks in
the historic succession of artists, unless we regard
Resales and Galofre as national in the tendency
of their art. There are two of Rosales' pictures
in the Museum of Modem Art in Madrid.
The National Museum of Painting and Sculpture,
otherwise the Museo del Prado, was founded in the
reign of Charles III., and planned by Villanueva.
The work was interrupted by the war with France,
and finished in the time of Ferdinand VII.
Architecturally considered, the exterior of the
museum is handsome and massive. Its chief
defect is the poor quality of the Hght within. Its
glory is the vast treasure of masterpieces of aU the
schools of Europe.
The works of the early Spanish painters may be
here studied in the Long GaUery, beginning with
GaUegos, whose pictures are catalogued as those of
an unknown master. Pedro Berruguete shows
the first example of the Italian influence. In the
u
ART IN MADRID 57
paintings of Luis de Morales we trace the natural
Spanish style, and discern that note of dramatic
gloom and religious sentiment that characterises
the true painters of Spain. Juan de Juanes,
much esteemed in his age, reveals an Italianised
art. In the works of Navarrete there is visible the
influence of Titian, who worked with him at the
Escorial Palace.
El Greco, who was taught in Venice, stands
alone. The picture of "Jesus dead in the Arms of
God the Father " is a representative work of this
weird genius, whose art was Spanish, in spite of his
Cretan origin. El Greco's art is also conveyed
in all its power in " The Baptism of Christ."
Many of this painter's canvases are in Toledo,
two are at the Escorial, one in the Cathedral of
Seville, and his portrait, painted by himself, is in
the Museo Provincial at Seville. The Prado
Gallery contains nine of El Greco's works.
Ribera is an artist whose work is singularly
modem as regards technique, though he lived
from 1588 to 1656.
The collection at the Prado contains a large
number of the paintings of Ribera, the predecessor
of Velazquez and Murillo, whose virile influence is
manifest in the productions of many of the
Spanish schools of the later period.
58 MADRID
Murillo is represented by about two score of
paintings in the Prado, and by several pictures in
the Royal Academy of Fine Arts. The Prado
contains the " Sacred Family," " The Penitent
Magdalen," " The Adoration of the Shepherds,"
and several other well-known paintings.
We have already referred to the pictures by
Velazquez and Goya to be seen in the Prado col-
lection. It now remains to briefly enumerate
some of the great works of the Italian and Northern
Schools. Among the Italian Primitives, we have
examples of the art of Fra Angelico and Mantegna,
and of the later school, there are pictures of
Raphael, Andrea del Sarto and Correggio. The
Venetians are exampled by Giorgione, Titian,
Tintoretto, Veronese, and Tiepolo. There are
nearly fifty pictures from the brush of Titian.
Among his earlier achievements are " Fertility "
and the " Garden of Loves." Here also are the
portraits of " Charles V." and " Philip II.," the
painting of "St Margaret," and the famous
" Entombment."
Among the other Italian and Venetian pictures
are Raphael's " Holy Family and the Lamb,"
Andrea del Sarto's " Madonna and St John," and
two early works of Correggio.
In the collection of paintings of the Northern
i
ART IN MADRID 59
School there are examples of Van Eyck and
Rogier van der Weyden, and though some of
these are copies, there is an authentic picture
by Van der Weyden. The triptych of Memlinc
is in this portion of the gallery, and Holbein's
" Portrait of a Man." Rubens, " the third glory
of the Prado," is well represented by about
sixty paintings. There are also paintings by
Jordaens and Van Dyck.
The work of Antonio Moro should be carefully
noted, as the art of this painter, who was the
master of Coello, was the foundation of the
Spanish School of Portraiture.
In the Museo de Arte Modema there are many
pictures by contemporary artists, and several
groups of statuary. Among the paintings are
works of Madrazo, Lopez, Pradilla, Casado, and
Villegas.
The Real Academia de Bellas Artes, built in
1752, has a picture gallery containing some of
the works of Murillo, Ribera, Zurbaran, Alonso
Cano, and Rubens. Some interesting Goya
sketches formerly in this collection have now
been removed to the Prado.
i
V
LITERATURE AND THE DRAMA
Madrid is the centre of the intellectual life of
Spain. It contains a number of academies,
colleges, schools, and Hbraries. The Royal
Academy was not founded till 1713 ; but, as
Bourgoanne pointed out in 1789, " there are
undoubtedly in Spain more learned men who
modestly cultivate the sciences ; more men of
erudition who are thoroughly acquainted with
the history and jurisprudence of their country ;
more distinguished men of letters and a greater
number of poets, who have energy and a fertile
and briUiant imagination, than is generally
imagined."
Science and letters suffered after the period
of Quevedo, Cervantes, Calderon, and Garcilaso,
and there was a rapid decline in learning until
the eighteenth century. Under Charles III. the
cultured Hfe of Madrid was revived. Charles
was opposed to the clerical restrictions upon
knowledge, and the banning of science was not
a part of his policy. He withstood the reaction-
do
LITERATURE AND THE DRAMA 6i
ary forces of the country, and, being himself a
man of scholarly tastes, he re-awakened the
moribund respect for culture. To encourage
the production of books, Charles III, freed all
printers from military service. He renewed the
universities, built new schools, and treated
teachers and professors with fairness and respect,
declaring that education is the most important
of aU social affairs.
This revival of learning and of hterature was
unfortunately transient, for under Charles IV.
free discussion was almost impossible in Spain ;
authors were gagged, and the Inquisition was
revived. The study of moral philosophy was
forbidden in the universities of the country,
for Charles declared that he had no use for
philosophers.
The first large public library in Madrid was the
San Isidro, founded by the Jesuits, and contain-
ing about 60,000 volumes. The National Library
was built in 1712, but the books were removed
to another building about thirty years after.
There is a hbrary in connection with the Royal
Academy of History in the Calle del Leon,
which contains several thousand books and a
number of valuable ancient manuscripts. The
University has its own collection of books. This
62 MADRID
institution was founded in 1508 at Acala, and
brought to Madrid in 1836. There are about
8000 students.
The old Court of Castile had many poets and
satirists from the days of Juan II. In the
thirteenth century, Castilian became the poUte
speech of the nation, and the earliest ballads
were written in this language. These ballads
are the basis of much of the history of Spain,
and this was the first form of literature in the
city of Madrid. Under Alfonso X. of Castile,
who was as skilled in letters as in the conduct
of the State, the art of poetry reached a
higher order than it had hitherto attained in
Spain.
Francisco de Quevedo ViUegas, the great
satirical poet and prose author, was born in
Madrid in 1580. His parents were of patrician
stock, and his mother was one of the royal house-
hold. Quevedo was sent to the college of Alcala
de Henares, where he was instructed in several
subjects, including law and medicine. A quarrel
with a hidalgo, whom he seriously injured in a
duel, caused the flight of the young student to
Italy. Upon his return to his native country,
Quevedo was arrested, and kept in prison
for about three years. Later, he was again
LITERATURE AND THE DRAMA 63
into confinement for a satire upon the
mt, Duke de Olivares.
)uevedo was a voluminous writer. His works
'e been collected in the " Biblioteca de Autores
)anoles," in three big volumes of poetry and
se, while many of his compositions were left
mblished. The " Visions " are perhaps his
it popular work. They were translated into
^lish in 1668, and published in London, and
; with such success that the volume reached
eleventh edition in 1715. Since then there
'e been other editions issued in this country,
^alderon lived at number seventy-five in the
le Mayor, formerly called the Calle de Almudena,
I in the same street was bom Lope de Vega,
most prolific of Spanish dramatists. In the
za de Santa Ana, near the Teatro Espaiiol,
a monument to Calderon erected in 1879.
s the work of Figueras, and a figure of Fame
ids by the dramatist ; the base of the statue
rehefs from scenes in the plays.
Calderon was of noble blood, and found in-
intial patronage in Madrid. We read that
lip IV. gave him the order of Santiago, and
)ointed him director of the theatre and public en-
:ainments. Pedro Calderon entered the church
:he age of fifty-two. He died in the year 1681.
64 MADRID
At number fifteen Calle de Cervantes there is
a memorial tablet to Lope de Vega, with the
inscription that the writer set upon his house :
" A smaU possession of one's own is great ; a
great possession of another is small."
Lope de Vega was born in Madrid in 1562.
For a time he was secretary to the Duke of Alba,
but, after wounding an opponent in a duel, he
fled from the city. His power of production
was marvellous, and it is said that he wrote a
play of three acts, in verse, in twenty-four hours.
He died in 1631.
Cervantes was intimately associated with
Madrid, though Alcala de Henares is claimed
as his birthplace. The greatest author of Spain
came to the capital in his youth, to study for
one of the learned professions, and here he lived
under the tutelage of Juan Lopez de Hoyos.
After serving as chamberlain in Rome to
Cardinal Aquaviva, Cervantes, at the age of
twenty-four, joined the expedition against Turkey,
and for several years he passed an adventurous
life on sea and land. Returning to Madrid, he
lived with relatives, and began to apply his
mind seriously to study, and to the cultivation
of his literary gift. In Madrid he wrote a number
of comedies and novels, but he left the city for
t
LITERATURE AND THE DRAMA 65
Seville, where he obtained more lucrative em-
ployment as a government official. The first
part of the masterpiece " Don Quixote " was
published in Madrid in 1605.
Cervantes died in 1616 from dropsy, and his
body was laid to rest in Madrid. In the Plaza
de las Cortes is a memorial in bronze to the
greatest of the romance writers of Spain. It
was designed by Antonio Sola, and set up in
1835. There are reliefs on the pedestal of the
monument depicting episodes from " Don
Quixote."
The Church of San Francisco el Grande, the
National Pantheon, was built in 1784 on the site
of a convent ; but it was not established as a
mausoleum until 1869. It has been decorated at
great expense and with much taste, and is not
altogether an unworthy repository for the ashes
of the illustrious dead. Here are supposed to
rest the remains of Guzman, Cervantes, Lope de
Vega, and Velazquez, but the tombs have not
been identified. In 1869 the ashes of Morales,
Juan Mena, Quevedo, Calderon, the Great Captain,
and other illustrious Spaniards were placed here,
but all of these have since been restored to their
original resting-places.
The Itahan opera was introduced into Spain
66 MADRID
by Charles III. The country has not produced
any very eminent operatic composers, though
opera is a popular entertainment. In the drama
Spain excelled at one period above all other
countries. The plays of the nation were ex- ,
ceedingly numerous in the palmy days, ranging
from sacred representations, or miracle dramas,
to farce. Many of the subjects were historical ;
but with the decline of taste, the drama lost
its Greek simplicity, and became the vehicle
of complicated intrigues and artificial plots,
Cervantes, as dramatist, endeavoured to check
this corruption of taste, but the pressure of
poverty forced him to foUow the conventions of
the hour, and to write on a level with the
intelligence of his audiences.
Lope de Vega wrote about eighteen hundred
plays. Much of his work is hasty, extravagant
and bombastic. Calderon wrote with more
directness and simplicity of style, and spent far
more pains upon his compositions. Augustin
Moreto produced thirty-six plays, which rank
high from the literary point of view. De Castro,
de Roscas, and de Sohs are three of the more
esteemed comedy authors of a later period,
whose pieces were played in Madrid.
Galdos, who is the author of several novels
LITERATURE AND THE DRAMA 67
and plays, resides in Madrid, in the Paseo
de Areneros. Dona Emilia Pardo de Bazan, the
most powerful of the women writers of Spain,
says : " The life of the playwright in Madrid is
more active, agitated, and arduous than other
branches of the literary career, which languish
and sleep for want of stimulus." Most of the
dramatists of the nation live in Madrid, or spend
part of the year there. Among them are Jose
Echegaray, now the leading playwright, Guimera,
Eugenio Selles, Dicenta, Vital Aza, Abati Ricardo
de la Vega, Garcia, and Paso.
Poets hving in Madrid are Emilio Ferrari, Grilo,
Manuel del Palacio, the Marquis de Cerralbo, the
Duke de Rivas, Eduardo Benot, and Melchor de
Palau. There are also several writers of humorous
verse, such as Lopez Silva, Perez de Ziiiiiga, and
Luis de Tapia.
The great novelist, Armando Palacio Valdes —
who, in his novel, " Froth," gives a true picture of
Madrid manners — lives in the city occasionally.
Here, too, reside Father Luis Coloma, Blasco
Ibariez, Baroja, Jose Ortega Munilla, Antonio
de Hoyos, and several other writers of
fiction. Dona Emilia Pardo de Bazan lives in
Madrid.
Among the celebrated joumaUsts are Cavia,
68 MADRID
Kasabal, Azorin, Claudio FroUo, Luis Morote,
Troyano, and " Zeda " (Sr. Fernandez Villegas).
The Madrilefios appreciate the drama — in
small doses — and support fourteen theatres, of
which the most frequented are the Teatro Real,
belonging to the State, the Espaiiol, belonging to
the Municipality, the Princesa, Comedia, Lara,
Apolo, and Zarzuela. As elsewhere in Spain,
each performance consists of three or more short
pieces or sketches — zarzuelas and saynetes —
almost always dealing with aspects of popular
life. To foreigners this persistent harping on
the amours of the policeman and flower-girl and
the vicissitudes of a chairmender's career is a
little surprising. The legitimate drama has been
almost driven from the boards in Spain, despite
the efforts of Seriora Guerrero — the Spanish
Bernhardt — to revive it, some years ago. This
lady's husband is the Marquis de Mendoza, who
follows the same profession, to do which he
required the special authorisation of the Council
of State. Spain does not want for good actors
and actresses, despite the loss of Vico, Calvo,
and the ever-popular Emilio Mario. Maria Tubau
is an able interpreter of Ibsen and Sudermann
(when the opportunity presents itself), and the
names of Thuillier, Pinelo, and Carmen Cobena
i'
LITERATURE AND THE DRAMA 69
deserve mention. Naturalism has by no means
asserted its sway over the Spanish theatre, and
the entertainments, as the old play-bills used to
say, are still largely frequented by ladies and
children. Every one smokes during the per-
formances, and talks frantically during the entr'-
actes. The theatres are comfortable and well
upholstered. English visitors will be struck by
the absence of programmes, the place of which is
often taken by some such sheet as Blanco y Negro.
Emilia Pardo de Bazan deplores the decay of the
literary circles and salons for which the city was
once renowned ; " of literary gatherings at private
houses or in splendid palaces we might say there
are none." Circles there are, it is true, she adds,
but few of them of greater circumference than a
tea-table. Yet young writers still seek Madrid,
bringing with them plays or novels, which, in most
cases, are never given to the public. " There are
in Madrid," continues this authoress, " more pro-
ducers than, in proportion, consumers, and the
proletariat of the pen suffers the bitter conse-
quences of this painful position."
The first newspaper printed in the city was the
" Gaceta de Madrid," which was founded in 1661.
It was first issued annually as a news-sheet, but
in 1667 the journal appeared each Saturday. The
70 MADRID
title of the paper was frequently changed, and at
one time it was the official organ of the Court, and
sold on the account of " the king our lord."
Later, the " Gaceta " was issued twice a week, and
in 1808 it was made a daily publication. With
one or two interruptions, the " Gaceta " has been
printed in Madrid since 1661.
The pioneer of modern journalism was Don
Francisco Mariano Nifo, who started the " Diario "
in 1758. Nifo sold the journal in 1759, and the
title was altered to the " Diario noticioso Uni-
versal," and later, to its present title, " Diario
official de Avisos de Madrid." In 1825 the
" Diario" became an official newspaper by royal
decree.
The establishment of political journalism dates
from 1806 ; the " Imparcial " was then founded, as
weU as many other journals which had short
histories. The present " El Imparcial " dates
from 1867, and " La Correspondencia " and " El
Dia " began to be issued about the same time.
" La Epoca " was bom in 1848.
The more solid reviews published in Madrid
are the " Lectura," and the " Ateneo." " Espaiia
Moderna," " Nuestro Tiempo," " Cultura," and
" Blanco y Negro," a well illustrated magazine,
are produced in Madrid. The city has certainly
i
LITERATURE AND THE DRAMA 71
given birth to a very large number of periodicals,
for from 1865 to 1878 no less than 1130 issued
from the press.
Students of the literary history of Spain will
find many interesting links with the past in the
National Library. Here are numerous editions of
"Don Quixote, " and a collection of old manuscripts,
including a beautiful Visigothic work of the tenth
century, and the " Siete Partidas " of Alfonso the
Wise. There are several autographs of Lope de
Vega and other Spanish authors in the collection.
VI
CHURCHES AND PUBLIC BUILDINGS
Among the monumental remains of Madrid there
is scarcely a memory of the Moorish days. In the
church of San Pedro we shall find an example of
Mudejar architecture, that is, the work of the
" reconciled " Moriscos, who remained in Spain
down to the final expulsion. San Pedro dates
from the fourteenth or fifteenth century, and
is the oldest church in the city. The tower is
square and plain, in the Moorish form, with small
windows.
The Gothic church of San Jeronimo el Real was
built in 1503, and restored in 1879. During the
French invasion the treasures of this church were
despoiled. Here the ceremony of taking the con-
stitutional oath by the heir-apparent is celebrated,
and in this church was performed the marriage
ceremony of the present king of Spain.
The Capilla del Obispo has a fine carved retablo,
or altarpiece, in the Renaissance style, and several
interesting statues and marble tombs. There is
also a beautifully carved doorway to the chapel.
72
%
i
CHURCHES AND PUBLIC BUILDINGS 73
Antonio Sillero designed the Convent of the
Descalzas Reales, which was founded by the
Princess J nana, daughter of Charles V. A part
of the original building remains, dating from 1559.
In the chapel is a statue of the foundress by Leoni.
The front of the present church was designed by
Diego Villanueva.
The church of the Convent of the Incarnation is
of the time of Philip III., the classic fa9ade repre-
senting the style of architecture at the Escorial
Palace. Within are some paintings by Carducho.
San Francisco el Grande is undoubtedly the
finest church in Madrid. The building is partly
modelled from the plan of the Pantheon at Rome ;
and the objects of interest are the fine carved
doors, the sculptured figures within by Benlliure
and Bellver, and some modem fresco paintings.
San Isidro is named after the patron saint of
the city, and was erected in the years between
1626-51. The interior is exceedingly ornate, with
gilt carvings, and niches containing images of
saints. There are some noteworthy paintings in
this church, including works by Rizi, Morales
and Palomino, and a putative Titian. The
picture by Morales, " Jesus and St Peter," is con-
sidered one of the finest examples of this artist's
skiU.
74 MADRID
In the church of San Andres there are some fine
marble carvings, and pictures by Carreho and
Rizi, The CapiUa del Obispo is behind this church.
San Antonio is noted for its frescoes of scenes from
the life of its patron saint, painted by Juan
Carreiio. The baroque style is seen in the church
of San Luis (1679) — especially in the carved
retablo.
Close to the Puente Verde is the Ermita de San
Antonio de la Florida, whose dome was decorated
with frescoes by Goya. The satirical painter was
engaged by the church to paint this dome with
appropriate subjects, and in sombre jest he chose
his models for pious characters among the manolas,
or half-reputable women, of Madrid. The paint-
ings are of exceptional interest, and well represent
the spirit of the grimly facetious painter.
The finest specimen of baroque architecture in
the city is the church of Santa Barbara, now
adjoining the Palace of Justice, and formerly the
church of a convent founded in the time of
Ferdinand VI. The building is in the form of a
cross, with towers, and an ornamental fagade.
The dome is decorated with frescoes, and the
marble altarpiece is especially graceful. Olivieri
carved the figures of St Ferdinand, St Barbara,
and Faith and Charity on the retablo. The tomb
CHURCHES AND PUBLIC BUILDINGS 75
of Ferdinand VI. by Sabatini is in the transept.
There is also a monument to General O'Donnell,
designed by Jeronimo Sunol.
San Gines should be seen for the picture of the
" Scourging of Christ " by Alonso Cano, and a
statue of Christ by Vergara.
Madrid compares unfavourably with other
capitals as regards buildings. Of late years a
good many new edifices have arisen, but these
are massive and pretentious rather than imposing.
The Plaza Mayor — originally the market-place
of Madrid — is historically interesting as the scene
of numerous autos de fe and bull-fights, while the
architecture of the Casa Panaderia should be
examined. The building contains pictures by
CoeUo. In the middle of the square is the statue
of Phihp III. on horseback, cast in bronze, and the
work of Juan de Bologna and his pupil Tacca.
A monument of the time of Phihp IV. is seen in
the offices of the Ministry of State, formerly a
prison. It was designed by the Italian Bautista
Crescenti, with figures by Herrera. The Town
Hall is seventeenth century, with a good fa9ade,
and a fine staircase. In the oratory of this build-
ing are pictures by Palomino.
Very httle remains of the old palace of the Buen
Retiro, which has been converted into the
76 MADRID
Artillery Museum. The Palacio del Congreso
(House of Commons), finished in 1850, is Corin-
thian in style. There is a fine allegorical group
by Ponzano, who also designed the lions on the
front. Within, there are frescoes of historic
scenes.
The largest square in Madrid is the Plaza de
Oriente, constructed by order of Joseph Buona-
parte. There are fourteen immense statues of
kings in this open space, and a beautiful fountain
with lions in bronze. The equestrian statue
of Philip IV. is by Tacca, from a painting by
Velazquez ; its equilibrium is said to have been
determined by Galileo.
The Museum of Archaeology, already mentioned,
has many objects of antiquity dating from pre-
historic times. There are a number of Roman
remains, Moorish relics, treasures from China and
Mexico, and curiosities of many kinds.
In " Castilla La Nueva" Don Jose Quadrado
refers to the old door of the Monte de Piedad, in the
Plaza de las Descalzas, as an interesting relic. It
is surmounted with a very ornate bell, and there
are two female torsos, and some good carving on
the frontage.
Six miles from Madrid is the royal hunting
lodge of El Pardo. The building was erected in
CHURCHES AND PUBLIC BUILDINGS 77
the time of the Emperor, and reconstructed by
Charles III. It stands on high ground in a fine
park. The walls are adorned within with many in-
teresting fresco paintings — the work of Velazquez,
Bayeu, Ribera, and other less notable artists ; and
there are tapestries from designs by Goya and
Teniers.
Aranjuez, thirty miles from Madrid, is a royal
residence of very great historical interest, for it
was here that Charles V. and Phihp II. spent many
hours of retirement. The palace contains pictures
by Mengs, Bayeu, Maella and Lopez. The
Gabinete de China is lavishly decorated with
porcelain, and is a wonderful example of this
style of ornamentation, introduced to Spain by
the Itahan Gricci.
The gardens at Aranjuez are exceedingly
beautiful, some parts of them being formal, and
others more wild. A fine avenue fringes the
river, and there are fountains and statues in the
grounds. The Countess D'Aulnoy, describing
Aranjuez, writes : "I must confess the Gardens
are too close and several of their alleys too narrow,
but yet it ravishes one to walk there, and at our
coming into them, I fancy'd myself in some
enchanted Palace. The morning was cool, every-
where the Birds made a sweet melody, and the
78 MADRID
waters a pleasant murmuring Noise ! the Trees
and Hedges were loaden with excellent Fruit, and
the Parterres were covered with most odoriferent
Flowers ; and I enjoyed all this in most pleasant
Company."
The trees in the avenue at Aranjuez are of great
age, with immense trunks and dense foliage,
testifying to the fertility of the soil. In the
Garden of the Primavera flowers and fruits flourish,
for the summer climate in this sheltered region
is almost tropical, though the surrounding hills
are bare and unfertile. Innumerable nightingales
haunt the gardens and groves in the springtime.
The Royal Armoury
If the Prado is surpassed by one or two other
galleries, Madrid can boast a collection of arms
and armour which is eclipsed by no other. The
Imperial Armoury of Vienna can alone be com-
pared with this magnificent storehouse of the
triumphs of a forgotten craft, the inception of
which is due to Philip II. The Emperor Charles,
Lord of Germany and Italy, was able to com-
mand the services of the greatest armourers of
his own or any age. By stimulating the rivalry
of the famous Colmans of Augsburg and the not
less celebrated Negrolis of Milan, he brought the
i
irl
THE ROYAL ARMOURY 79
armour-smith's art to its highest pitch of develop-
ment— and this, too, at a time when new tactics
and artillery seemed likely to drive it for ever from
the field. The reign of Charles marks the zenith
of the craft. The sons of Vulcan ranked among
the most admired artists of their time, and the
most eminent exponents of the sister arts were
proud to embellish and to wait upon the works
of their hands.
Yet it was to supply the needs of no mere
dilettante that the forges cf Augsburg and Milan
were kept glowing, that their anvils re-echoed
unceasingly with ringing blows. Charles was
a mighty War Lord. He used his armour in the
tented field, his keen blade was waved aloft in the
van of armies ; and in times of peace, he yet
loved to surround himself with the pomp and
circumstance of glorious war. And when he laid
aside the helmet for the monk's cowl, he left his
son the finest martial equipment any monarch
had ever boasted before or since.
Less of a soldier than his father, Philip IL
was not slow to recognise the intrinsic value of
the heritage. He ordered a house to be built
specially for its reception, thus forming the
foundation of a collection, which was added
to from year to year by him and his successors.
8o MADRID
The manufacture of defensive armour practically
ceased at the close of the seventeenth century,
and the spoils of war became, alas ! rarer in the
course of the next hundred years. In the uprising
against the French in 1808, the Armoury was
plundered by the populace in their frantic hunger
for weapons against the detested invader, and a
year or two later the collection suffered consider-
ably at the hands of the Rey intruso.
In the forties, a complete re-arrangement took
place by order of Queen Isabella II. A catalogue
was issued in 1849, which was useful enough in its
way, and made the priceless treasures it enumer-
ated known to the world. But it displayed
little critical or antiquarian skill, and per-
petuated a score of picturesque and grotesquely
misleading attributions. Different pieces were
labelled as the sword of Bernardo del Carpio, the
falchion of the Cid, the bit of Don Roderic, the
helmet of Boabdil, the cuirass of Garcilaso de la
Vega, etc. Doubtless in course of time the
battle axe of Amadis de Gaul, the horn of Roland,
and Mambrino's helmet would have found their
way into the catalogue. Luckily King Alfonso
XII., soon after his accession, entrusted the
collection to an antiquary of the new school,
the late Count of Valencia de Don Juan. Years
THE ROYAL ARMOURY 8i
of labour and research, interrupted by a dis-
astrous fire, resulted in a complete and admirable
re-organisation and classification, and in the
publication in 1898 of a catalogue which has
conferred permanent lustre on the reputation of
the erudite compiler.
The collection is in no sense national, Spain,
a country famed, from the time of the Romans,
all over Europe, for the excellence of its sword-
blades and the martial temper of its people, is
hardly represented in this knightly arsenal. The
major portion of the exhibits proceeded from
Itahan and Bavarian workshops. Historically
the collection is less valuable than our ill-arranged
armoury at the Tower, It includes few pieces
anterior to the last years of the fifteenth century,
and none at all of the fourteenth. The student
comes here to view not the evolution, but the
highest expression of the armourer's craft. Those
who have the time will of course examine the
exhibits piece by piece in the order they are
described in the admirable but decidedly bulky
catalogue to which I have referred. Those who
regard the great armour-smiths as great artists —
and such they were — will prefer to examine their
works separately and so to familiarise themselves
with the technique and style peculiar to each.
82 MADRID
Koloman Colman, surnamed " Helmschmied,"
was the greatest of the famous Augsburg family.
Of the many superb suits he made for Charles,
no fewer than seven are in the Royal Armoury.
The earliest of these (numbered A. 19) may be
identified by the monogram K. D. stamped boldly
on the pike-guard of the left shoulder. The
letters stand for Karolus Dux, the wearer being
at that time (about 1514) only Duke of Burgundy
and heir to the crowns of Spain. The suit belongs
to the older, more graceful style of the fifteenth
century, but the tendency to exaggeration, which,
later on, became so pronounced, is seen in the size
of the shoulder-guards or pauldrons a^d of the
shoes or soUerets. Every part of the body is
protected by plates of steel, except the throat,
the armpits, and the space between the tassets
or thigh-guards, which are defended with chain-
mail. The well-shaped helmet is of the close-
fitting armet type, composed of several pieces.
The breastplate is ridged down the middle, and
decorated with the engraved collar of the Golden
Fleece. The combs or elbow pieces are beauti-
fully made, and over the right armpit is one of the
pretty round pieces called rondels or palettes.
This is missing on the left arm, where the huge
pike-guard or pauldron covers the whole shoulder
THE ROYAL ARMOURY 83
and left breast. Note the detachable lance-rest,
engraved with the armourer's mark and the
Double Eagle. The decoration of the suit is chaste
and tasteful, the borders of the various pieces
being adorned with diamond-shaped reliefs. In
itself light and elastic enough for wear in the field,
the suit could be strengthened and supplemented
at will for the tilt and tournament. The extra
pieces are shown on a separate mounted figure
(A. 26). The enormous arm-guards are, of course
confined to the left or exposed side. Heavy
clumsy pieces such as these left less opportunity
for a display of the smith's skill than the barding
or horse-armour. This is singularly beautiful
and was the work (says the learned author of the
catalogue) of Daniel Hopfer, who often assisted
Colman. The plates are gilded and etched with
devices of the Golden Fleece, the Rose, and the
Pomegranate. Hopfer is also credited with the
curious concave target to be screwed to the
shoulder at tournaments (A. 37), which is trelUsed
or divided by intersecting ridges to break the
point of an enemy's lance. The spaces are en-
graved with much skill with herons attacking an
eagle, which clutches one in its talons. If this,
as it seems to be, is an allusion to the alliances
promoted by Francis I. against the Emperor after
84 MADRID
the Treaty of Madrid, it shows that the shield
must have been made long after the suit.
The horse-armour^ of the harnesses (A. 37-38),
on the contrary, seems to have been made for the
Emperor Maximilian, and were etched by Burg-
maier, a celebrated engraver of his time. They
are most elaborately decorated. The ear-cover-
ings of the one are shaped like rams' horns ;
and the poitrel (or breastplate) is embossed with
grotesque faces. The crupper-plates are de-
corated with compositions representing Biblical
episodes — David killing Goliath and Samson
slaying the Philistines. If the second suit be-
longed to the mighty Maximilian, the forehead-
plate must have been added later, as it bears the
motto " Plus Oultre," first adopted by Charles.
We come next to the five harnesses made
between 1519 and 1539 for the Emperor by the
Augsburg firm. They are alike decorated with
ornamental bands in the direction of their greatest
length and exhibit little difference in design.
Two, however, are distinguished by the ugly
lamboys or bases, a kilting of armour introduced
about this time to satisfy the craze for novelty
and extravagance. One of these is called the
oak-leaf suit, from the predominant device in the
ornamentation. It is Helmschmied's own work
THE ROYAL ARMOURY 85
— probably about 1520. The various pieces are
distributed over three separate figures (A. 49-56-
57). The breastplate becomes globose, the
rondels are replaced on both shoulders by the less
graceful pike-guards. No less than six extra
pieces are shown that could be attached to the
helmet. Though we may regret the departure
from the elegant simplicity of the older style,
our admiration is excited by the exquisite skill
displayed in the articulation of the gorget and
the bases — made as flexible as if they were of silk.
Their plates are detachable, and beneath the steel
kilt were worn breeches of the same metal,
wonderfully laminated and allowing the utmost
freedom to the limbs. The bands common to
all the suits exhibit a great variety of detail.
Griffins, amorini, nymphs, grotesques, heraldical
devices, flowing scrolls, floral emblems, hunting
scenes, are all introduced and interwoven with an
ingenuity only exceeded by the delicacy of their
execution. The helmet at A. 57 is lightly and
beautifully relieved with the figures of Centaurs
and serpents fighting.
Another beautiful headpiece, of the Burgonet
type, is shaped like a dolphin's head, and black-
ened and damascened. It is no doubt an example
of Hopfer's skill. The same hand may be traced
86 MADRID
in the decoration of the armet of the suit numbered
A. 75. The reinforcing piece, in the form of an
eagle's head and beak, was in the possession o^"
Sir Richard Wallace, and by him given to his
Catholic Majesty.
Helmschmied, who, as Count de Valencia ^.las
proved, visited Spain in 1525, died in 1532. The
last harness he made for the Emperor (A. 108)
illustrates a transition in the fashion of armour.
The tassets or hip-plates now extend down to the
knee, and tend to assume the " lobster-tail "
form as worn by Cromwell's Ironsides.
Desiderius Colman lacked the genius of his
father. On the Cornucopia suit (A. 115-117),
so called from the emblem predominating in the
decoration, we recognise a close and successful
imitation of Helmschmied's work. The vertical
bands were insisted upon by the Emperor, as they
apparently added to his height. The figure, A. 164,
looks as if he had stepped out of Titian's picture
at the Prado. It is made up of the harness he
wore at the battle of Muhlberg in 1547. The
pieces are inlaid with gold and delicately etched.
Desiderius made this armour in 1544, and im-
mediately after began work upon a suit for Prince
Philip, according to designs supplied by Don
Diego de Arroyo. The harness differs little from
kl
THE ROYAL ARMOURY 87
those worn by the Emperor. It is furnished with
" bases " and with very flexible articulated leg-
armour. The genouilleres or separate knee-
plates disappear, but the graceful rondels at the
armpits, and coudes or elbow pieces are retained.
On the next figure is shown a very fine tilting
helm in three pieces, and next to this again, a
headpiece of the " morion " t5^e fluted and
delicately etched.
The suit numbered A. 217-A. 230 should be
familiar to visitors to the Prado. Philip, as heir
apparent, is shown wearing it in Titian's picture
(No. 454) and by Rubens (No. 1607). The Count
of Benavente is represented in it by Velazquez
(1090). Designed by Arroyo, the harness, which
is composed of more pieces than any other
in the collection, was made in 1549. The history
of Philip's magnificent armour (A. 239-A. 242) as
related by the Count de Valencia, is of some
interest. Hitherto Colman's superiority to other
armourers of the time had been acknowledged
only as regarded field and tilting armour — the
plainer and tougher work, in short. Burning to
eclipse his Milanese competitors in their own line
and to produce a harness of the most ornate
character, Colman looked about for an assistant
and found one in Georg Sigman, an artificer of
88 MADRID
skill, whom the municipality of Augsburg had
hitherto refused to enrol as a master of his craft.
Colman promised his powerful influence to the
aspirant, and together they turned out the fine
suit we see. The cuirass and all the pieces,
except the jambs, coudes and vambraces, are
composed of overlapping plates. The decoration
is tasteful, consisting of longitudinal bands of
blackened steel, etched with grotesques and
foliage. The coudes are embossed and gilded
with female figures upholding the order of the
Golden Fleece, attended by warriors. The
genouilleres are decorated with masks and satyrs.
Note the little brayette at the meeting of the
limbs, a piece, stupidly enough, rarely shown in
English collections. The helmet or burgonet is
richly chased with classical compositions, with
cartouches, wreaths, and foliage. Upon it the
name of Colman and the date 1552 are stamped in
full, with the initials and mark of his collaborator.
The spirit of rivalry, of which this noble panoply
is the offspring, is expressed very plainly on the
shield (A, 241) attached thereto. It is circular,
of one piece, blackened, and embossed. Round
the boss runs a laurel wreath, with the name of the
maker and the date. On the surface are disposed
four medallions, encircled by wreaths and de-
THE ROYAL ARMOURY 89
signed respectively with allegorical representa-
tions of Strength, Victory, Wisdom, and Peace.
The intermediate space is lavishly adorned with
figures, masks, and foliage, and cartouches. Less
skilfully executed are the designs round the rim,
where Colman has presumptuously symbolised
his supposed triumph over his Milanese competitor
by a composition in which a bull overthrows a
man bearing a shield marked " Nigrol." The
shield will certainly not bear comparison with the
Italian's work or even with the suit to which it is
attached, but in fairness to the German, it must
be said that it is evidently unfinished. It wants
the grip and the attachments for the lining. The
saddle at A. 242 is the finer work, and is adorned
with the figure of Aphrodite attended by Cupids.
This is the latest specimen of the work of De-
siderius Colman preserved to us. He was living
in 1575 (says Dr Wendehn Boeheim), but when
or where he died we know not.
Little is known of Sigmund Wolf, except that
he was living at Landshut in Bavaria as late as
1554, and was the teacher of Franz Grosschedel,
another armour-smith of repute. To him is
ascribed the harness made for Philip II., and
styled the Burgundy Cross suit. The decoration
consists in ornamented bands as usual, on the
90 MADRID
breastplate of one figure being engraved the
figure of the Madonna. Another suit by the same
maker (A. 243-262) includes no fewer than eighty-
five pieces, all of which are not at Madrid. The
inordinate number of tilting-pieces show Philip's
fondness for martial exercises. The weight of
the armour when complete would have been
37 kilogrammes. The helm is a superb example
of Wolf's skill and the leg armour reveals his
eye for symmetry. A manteau d'armes or target
is screwed to the left shoulder, as was usual in
tilting suits.
The armour with the lobster-tail tassets worn
by the ill-fated Infante Carlos, son of Philip II.,
at the age of thirteen or fourteen, is attributed
by Boeheim to Wilhelm von Worms of Nurem-
berg, and by Valencia (with a greater show of
probability, it seems to me) to one of Wolf's
successors and namesakes. It is interesting to
remark the difference in size of the left and right
pauldrons, a proof that the prince was slightly
deformed, as has so often been alleged. It is
unfortunate that the armour of our own Richard
III. has not been preserved, to set at rest the
vexed question of his physical conformation.
The fecundity of Bavaria in great armour-
smiths about this time proves the truth of the
THE ROYAL ARMOURY 91
adage that, given a Maecenas, Maros will not
be wanting. Perhaps the most magnificent suit
in the whole armoury is No. A. 270, interesting
doubly as having been made for that darling of
romance, Dom Sebastian of Portugal, by the
gifted craftsman, Anton Peffenhauser of Augsburg.
Boeheim has brought to hght several details
of this great artificer's life. Bom at Munich in
1525, he was working twenty-two years later in
Augsburg, where he married, first Regine
Meixner, and secondly twenty years later, Regine
Eitler (probably the sister of Susanne Eitler, who
married " Helmschmied " in 1565). His skill,
and possibly his connection with the Patriarch
of the craft, procured Peffenhauser many exalted
patrons. In 1566 he was at work on a blackened
harness for Kaiser Maximilian H., and ten years
later we find him attached to the electoral court
of Saxony. Specimens of his work are to be seen
at Dresden, Vienna, and St Petersburg. The pre-
sent suit was made about 1576. A medal pre-
served at Prague portrays Peffenhauser as a man of
mature years, stern and dignified in countenance,
with a pronouncedly aquiline nose and full
beard.
Dom Sebastian's armour, says the Count of
Valencia, is Peffenhauser's masterpiece, and
92 MADRID
places him on a level with, if not above, the
greatest German armourers of his time. True, he
falls into the mistake of over-ornamentation, and
his figures are incorrectly designed, but the com-
position and embossing are bolder than Colman's,
and, above all, his chiselling is of inimitable
precision and clearness. As to the style of de-
coration, on comparing the capricious combina-
tions of figures, scrolls, and other devices, with the
designs published by Hefner Altenech, we are
inclined to believe that it was the work of Hans
Mielich of Munich (born 1516, died 1573), or some
other German artist of the same date and equal
ability.
The suit consists of burgonet, breastplates, and
backplates, gorget, pauldrons, rere and vam-
braces, coudes, gauntlets, faces, lobster-tail
tassets, genouilleres, and jambs. The nails,
clasps, and plume-holder are gilded. The burgo-
net, wrought in one piece, is beautifully embossed
with allegorical and mythological figures and with
a battle-scene in which elephants are introduced —
an allusion, doubtless, to the Portuguese conquests
in the Indies. Mythological compositions also
adorn the longitudinal bands traversing the suit
from neck to ankle. The pauldrons, or shoulder-
plates, display a bewildering and marvellous
I
THE ROYAL ARMOURY 93
profusion of ornamented work. The elbow-
guards are adorned with rehefs of the Cardinal
Virtues, the knee-plates with beautiful emblematic
groups. Thinking of this suit when still brightly
burnished and gilded, one fancies that it was thus
arrayed that Milton's archangels went forth to
battle for the lordship of the heavens.
It is now time to examine the productions of the
Itahan schools of armourership. The most formid-
able competitors of the Augsburg family were the
celebrated Missaglias of Milan, who became
known exclusively by the name of Negroli from
the year 15 15 onwards. Herr Boeheim has found
traces of a Tommaso da Missagha, who was
working at Milan in 1415. His son, Antonio,
made a suit for the last Aragonese King of Naples.
Some specimens of his handiwork are to be seen
in Vienna. The members of the family with
whom " Helmschmied " and his son were called
upon to compete were Filippo, Giacomo, and
Francesco Negroh. The suit A. 139, forged at
Milan in 1539, and worn by Charles V., is sur-
passed in purity of outline and excellence of
workmanship by no other in the collection.
There is no trace here of the decadence of the
craft. It is at once distinguished from the
German suits by the horizontal direction of the
94 MADRID
bands. It was originally blackened, so as to
show up the gold and silver of the decoration.
The morion is surmounted by a laurelled comb,
on each side of which run wide bands of gold
damascening that meet in front to form a fan-
tastic face in relief. Hence the name " de los
mascarones " sometimes given to this harness.
The date and maker's names are stamped on the
border. Over the helmet could be placed a
re-inforcing piece or " coif " shaped like a serpent
with scales of gold. The breastplate is adorned
with a medallion, containing an image of the
Virgin. The shoulder, elbow, and knee pieces all
deserve close examination for their admirable en-
richment with lions' heads, scrolls, and foliations.
The skill of the Negrolis must be judged, apart
from this suit, by separate pieces of armour. We
have, first, the helmet and target presented to the
Emperor by the Duke of Mantua in 1533. The
former is moulded in the Ukeness of a human
head — said to be Charles' own — covered with
golden curls, and encircled over the brow by a
laurel wreath. The beavor is in the form of a
curly beard, the lips showing above it. This
cleverly executed, but tasteless, helmet bears the
name of Negroh, and the date 1533. The target,
made to match, has a lion's head and mane at the
THE ROYAL ARMOURY 95
boss, and a wide border, where medallions with
the Imperial arms are shown upheld by griffins
and interwoven amid foliage.
Another Burgonet (D. 30), made for the Emperor
by the same hands, forged in one piece and ex-
quisitely damascened, is surmounted by the
figure of a recumbent turbaned warrior — emble-
matic of the Ottoman Empire — whose fierce
mustachios are firmly grasped by two female
figures, representing tame and Victory. Far
exceeding these pieces in dignity and simplicity
of conception, and in vigour and accuracy of
execution, is the famous Medusa shield (D. 64)
presented to Charles by the Municipality of
Milan upon his entrance into the city in 1541.
The Gorgon's head, daringly and vigorously
embossed, is super-imposed on the centre of the
shield, and confined within a broad laurel wreath.
Outside this again are three concentric bands.
The first, narrow and richly inlaid with the
precious metals ; the second, blackened and
divided into sections by panels bearing the
inscription, " Is terror quod virtus anima e
fortuna paret " ; the third, damascened like the
first, and divided by medallions containing the
Imperial insignia. The rim is moulded into the
form of a laurel wreath. Negroli's name is shown
96 MADRID
on the steel grip. This is considered one of the
very finest shields ever forged by an armourer.
The swords (G. 33, 34) are believed to be the
work of the same hands. Their middle surfaces
and ricassi are inlaid with gold. The hilt of one
terminates in a beautiful volute, of the other in
a facetted pommel.
The helmet, attributed in the old catalogues to
Boabdil (D. 12), issued from the same workshop.
It is forged in one piece and could be strengthened
by a complete set of re-inforcing pieces for tilt and
tournament. Probably it would have interested
us more if the old tradition as to its ownership
had not been discredited.
Great potentates in the sixteenth century were
fond of appearing in Roman garb. Charles V.
was the possessor of a suit of armour of this
character, presented to him by the Duke of
Urbino, and made by Bartolommeo Campi of
Pesaro. This armourer, after enjoying the pat-
ronage of several crowned heads, served in the
army of the Duke of Alba as an engineer, and fell
at the siege of Haarlem in 1573. The harness
is composed of seven pieces of blackened steel,
damascened and ornamented with bronze gilt.
The cuirass, a wonderful work of art, is modelled
on the muscles of the male breast, and on it is
THE ROYAL ARMOURY 97
super-imposed the head of Medusa finished off
with spiral volutes. At the shoulders are lions'
heads, with fierce rolling eye-balls. The cuirass
is fringed with a row of hanging bronze medal-
lions, showing classic heads, masks, and other
devices, beloved of the Renaissance artificer.
Cothurni with satyrs' heads at the point, and
a BcEotian casque superbly enriched, complete
this splendid antique costume.
The work of another eminent Itahan artist is to
be seen at A. 112. It was presented to Charles
by the Duke of Mantua and forged by Caremolo
Mondrone of Milan (1489-1543). It possesses
an historic interest, as the suit in which the
Emperor made his entry into Tunis. Though
the decorative work has all but disappeared, the
close fit and flo\\dng lines recall the best days
of the armourer's craft.
The next suit (A. 114) also testifies by the ex-
treme delicacy of the azziminia in imitation of
Kufic inscriptions, to the wonderful skill of the
same artificer.
That the very greatest artists were not un-
willing to co-operate in the decoration of arms
is attested by the magnificent " Plus Ultra " shield
designed by Giulio Romano, who was living in
Mantua in those days. It is forged in a single
98 MADRID
piece of steel and the whole surface is chiselled
with an elaborate composition. In the centre is
seen the Emperor, in his Roman suit, upholding
the Imperial Eagle and standing upright in a
vessel, at the prow of which is Fame. Over his /
head Victory hovers. Hercules, more to the left,
shoulders his Pillars, and prepares to follow the
Emperor in his onward course, to the obvious
consternation of Neptune. Below the boat a
river-god is seated near the figure of Africa or
America, bound and enslaved. This is certainly
one of the most remarkable productions of the
armourer's art anywhere to be seen.
The armour at one time in the possession of
Charles and his son is naturally the most interest-
ing in the collection. The suits made for their
successors illustrate the decline of the artistic
movement. The harness was now worn chiefly
for display. The connection between Spain and
Bavaria was severed, and the days had long gone
when Toledo blades were esteemed the finest
weapons the world could produce. The suits
made for Philip III., when Infante, by Lucio
Piccinino of Milan, is worthy of the earher period.
It is profusely decorated with reliefs and azzi-
minia. The burgonet is embossed with three
masks, another appearing m the centre of the
THE ROYAL ARMOURY 99
breastplate, above a panel containing a figure
of Victory and upheld by two male figures. The
other pieces (many of which are wanting) were all
similarly adorned. The horse's barding exhibits a
similar wealth of ornamentation.
Turned out in Spain itself at the Royal Arsenal
of Pamplona in Navarre, in the year 1620, is the
armour catalogued under the numbers A. 350-353.
This was a suit intended for presentation by
Philip III. to the Duke of Savoy, and is lavishly
decorated. A curious feature of the next suit,
also made in Navarre, is the seven indentations
made by the bullets of an arquebus. Each is
set with stones. These marks were intended to
attest the thickness of the steel, but they do
rather the contrary, for the backplate has been
completely perforated. We are reminded of Don
Quixote's attempts to satisfy himself of the tough-
ness of his helmet.
At A. 13-20 are sho^vn six charming little suits
made for the boy princes, Philip, Ferdinand, and
Charles. They are composed of closed helmets,
gorgets, cuirasses, and the usual arm-guards.
The surface is blued and divided diagonally by
foliations between which appear the emblems of
Spain and the Golden Fleece.
The suit made for the Infante Baltasar Carlos
100 MADRID
(1629-1646) is little more than a costly toy, and
preserves its gilding and blackening unimpaired.
The suits A. 369 and A. 394 are historically in-
teresting, as having been worn in the field by
Prince Emmanuele Filiberto of Savoy, the victor
of St Quentin, and Don Juan Jose, natural son
of Philip IV., respectively.
The splendidly engraved collar and gorget
catalogued as A. 434-441, are now known to
portray the siege of Ostend (1601-1604) and battle
of Nieuport (1600). The details are executed
with marvellous clearness, and reflect the greatest
credit on the unknown artificer. The horseman
in the centre group on the gorget is probably the
Archduke Albrecht, who distinguished himself
by his valour in the battle. These pieces were
worn over a buff jerkin, such as clothed Crom-
well's Ironsides.
Many detached pieces in this grand collection
are as full of interest as the complete harnesses.
The sword, G. 21, once thought to be the " Colada "
of the Cid, has lost little of its interest now that
it has been identified with that equally famous
blade, the " Lobera " of St Ferdinand. A part
of the cloak in which the sainted king was buried
is also shown with his long-necked spurs or
" acicates." Then we have (at G. 13) the heavy
THE ROYAL ARMOURY loi
weapon of Ferdinand the Catholic, and the sword
of state used by the CathoUc sovereigns when
conferring the accolade. The sword, inscribed
with the Great Captain's name, was presented
to him, the Count of Valencia thinks, by some
Italian city. The sword numbered G. 30 also
belonged to him. And who can gaze without
wonderment on the Valencian blade with which
Pizarro won for Spain the vast empire of Peru ?
From the New World comes a wonderful feather
shield, made by the Mexican Indians under the
direction of Spanish artists. On a wicker frame
are depicted in feathers, mounted on skin, the
battles of Navas de Tolosa, Tunis, and Lepanto,
and the taking of Granada. In the centre a
heron is seen defending its nest against serpents —
a composition symbolical of the campaign against
heresy. The whole is an extraordinary example
of what can be achieved with such apparently
impracticable materials.
Included in the collection is a brigantine made
for Charles V. composed of hundreds of pieces of
steel sewn on leather, making a garment as flexible
as a jersey, and yet endowed with extraordinary ,
resisting power.
Older, and from certain points of view more
interesting than any of these exhibits, are the
102 MADRID
Visigothic crowns of Guarrazar, the companions
of those in the Cluny museum. These were found
one moonht night in the year 1858 by two
peasants, in the bed of a fountain, and only secured
with difficulty by the government. Much of the
treasure had already come into the possession
of the goldsmiths of Toledo, and had been broken
up or melted downi. It is said to have comprised
a beautiful golden dove, which, having been ac-
quired by a jeweller, occasioned him so many
qualms of conscience that he at last eased his
mind by throwing it into the Tagus. The crowns
were the offerings at shrines of King Swinthila
and his successors. They consist of hoops studded
with gems and dangling from a separate orna-
ment of gold and rock-crystal. From the hoop
hang pendants and letters in enamel, making up
the inscription, Swinthilanus Rex Offeret. Ad-
jacent are crosses and ornaments of the same
period. An antique horse's bit, ascribed by
tradition to Witiza, is beUeved by the Count de
Valencia to date from the Visigothic era.
The collection comprises a superb assortment
of swords, beautiful specimens of the famous
Toledo blades. Among those of historic interest,
I forgot to mention that of Hernando Cortes.
The sword of Philip II., numbered G. 47 has a
I
CHURCHES AND PUBLIC BUILDINGS 103
magnificent hilt richly chased, with a spherical
pommel. It is no doubt the work of Desiderius
Colman, though believed, at one time, to have
been designed by Benvenuto Cellini.
Among the trophies are the sword of the Duke
of Weimar, taken at Nordhngen in 1634, the arms
taken from Francis I. at Pavia, Moorish arms
from Tunis, the breastplate of the Elector of
Saxony, taken at Miihlberg, swords and standards
from Lepanto, and flags taken by the famous
Admiral Alvaro de Bazan. The arms belonging
to his late Catholic Majesty, Alfonso XII., have
also been added to the collection by the Queen
Dowager, who well knew the profound interest
her august husband took in this superb military
museum.
The Escorial — La Granja — El Pardo
No one visits Madrid without making an
excursion to the Escorial, which is to the Spanish
capital what the Pyramids are to Cairo. Indeed,
there is more than one point of resemblance
between these buildings. Both impress mainly
by their size, both produce no sensations of
pleasure in the beholder, both embody the
solemn and crushing conception of the majesty
of death entertained by great and despotic kings.
104 MADRID
The thoughts of Phihp II., like those of the
Pharaohs, turned perpetually graveward, and it is
perhaps doing no injustice to a genuinely devout
character to say that he pondered as much on the
abode of the body after death as on the post-
mortem vicissitudes of his soul. The pomp of
death which, according to the sage, is to most
men more terrible than death itself, had a rare
fascination for the Pharaohs and the King of
Spain. Philip in his tomb seemed a finer figure
to PhOip living than Philip on his throne. Death
as a catastrophe is attractive, of course, to all
manner of people, not otherwise morbid. But
it was death in its most generally repugnant
aspect that appealed to this strange, sombre
sovereign of the Spains, and it was that pre-
dominating conception that inspired him in the
erection of the Escorial. The building is his
idea of the majesty and finality of Death ex-
pressed in stone.
The story which immediately accounts for the
founding of the Escorial is weU known. On the
i6th August 1557, the Spaniards commanded
by Emmanuele Filiberto, Duke of Savoy, totally
defeated the French under the waUs of St Quentin.
Philip arrived in time to assist at the taking of the
town itself, to effect which it became necessary
I
CHURCHES AND PUBLIC BUILDINGS 105
to demolish a convent dedicated to St Lawrence.
By way of reparation to that saint, in thanks-
giving for the victory, and in fulfilment of his
father's instructions to create a royal mausoleum,
Philip determined to erect a vast monastery and
palace under the invocation of St Lawrence.
The present site having been chosen by a com-
mission, the work was begun in the presence of the
King himself, in the first week of April 1562.
The plans were drawn by Juan Bautista de Toledo,
an architect of distinction, who had studied at
Rome and Naples. He died, however, in 1563,
a few days after the laying of the first stone and
the work was then entrusted to his assistant,
the more celebrated Juan de Herrera (born in
Asturias 1530, died at Madrid 1597). Villacastin,
the Master of the Works, on being invited to assist
at the ceremony of laying the first stone, replied,
" Let others lay the first, I will place the last ! "
His words came true, for he laid on June 23rd,
1582, the last stone, which may be seen marked
with a black cross on entering the Patio de los
Reyes.
The real architect was Philip himself. His
interest in the work was so intense, his attention
to its details so minute, the idea of the whole
so much his own and so tenaciously insisted
io6 MADRID
upon, that Toledo and Herrera can have had
little else to do than commit the scheme to
paper.
The Escorial is essentially the work of one man,
and the expression if not of his personahty, at
least of the idea that obsessed him.
It was the custom in Northern Europe to
propitiate some half-forgotten infernal deities
by burying a pig or a sheep aHve in the foundations
of every church. The monastery of San Lorenzo
was similarly consecrated by human and animal
sacrifices. After the Hermits of St Jerome
(Charles V.'s favourite order) had established
themselves in the incomplete edifice, it was
whispered that a black dog persistently inter-
rupted their chanting by his bowlings. The
animal was looked upon by the people as inspired
by God thus to protest against the spoliation of
the peasantry by the Hermits. It turned out
that it was only one of the hounds of the Marquis
de las Navas, bewailing his absent master ; but
the benevolent monks promptly hanged the poor
brute from the roof of their cloister. In the same
year a young man, twenty-four years of age, was
(no doubt for some serious offence) burned at the
stake on the spot in the neighbouring Jardin del
Principe marked by a stone cross. Thus with
CHURCHES AND PUBLIC BUILDINGS 107
most solemn rites was the great Christian temple
consecrated to Death.
The building constitutes an immense parallelo-
gram, its sides nearly facing the cardinal points
of the compass. The small rectangular annex
called the Palacio de Infantes projecting from
the middle of the eastern face, gives the plan a
purely accidental resemblance to a gridiron,
which, according to legend, was the instrument
of the titular saint's martyrdom. The dimen-
sions, according to a Spanish writer, are 744
Castilian feet from north to south, 580 from east
to west, and 400,000 square feet in area. The
whole building is of grey granite, and appears to
form an integral part of the rock on which it
stands. In its simplicity and hugeness it might
easily be mistaken for the work of Nature, not
of man. Artistically this is perhaps its sole merit,
yet, as I have said, it never fails to awe. The
style is that of the second Renaissance, here called
Greco-Roman, which prefers the Doric order
and rejects all superfluous ornament. Each
angle is capped by a square tower, surmounted
by a pinnacle. The facades, devoid of all decora-
tion, are relieved only by rows of small square
windows. The upper stories are faced with
blue slate and sheets of lead. The Escorial is
io8 MADRID
rivalled in simplicity and severity by the Pyramids
alone.
The main entrance is in the middle of the west
front. The lower stage is in the Doric style,
four columns flanking the doorway on each side.
The door itself is 20 feet high and 12 feet
wide, and painted white with huge copper-gilt
studs and knockers. Above is the second stage
of the entrance in the Ionic style. Over the door
is the colossal statue of St. Lawrence in granite, but
with the head, hands, and feet in white marble.
The sculptor, Monegro, received 20,900 reales
for the Spanish coat-of-arms carved below.
A vestibule opens upon the Patio de los Reyes,
so called from the statues of the Kings of Judah
in granite and marble, also by Monegro, which
stand on pedestals above the cornice. Jehosha-
phat is represented with an axe, Hezekiah with
a ram, Manasseh with the compass and square,
Josiah and Solomon with books, David with
harp and sword. These kings were selected as
having had most to do with the building of the
Temple, to which the Escorial was often compared
by Spanish writers. The Temple, as represented
by the Mosque of Omar, is by far the more cheerful
and ornate structure of the two.
The eastern front of this court is formed by the
CHURCHES AND PUBLIC BUILDINGS 109
west front of the church and the Escorial — un-
doubtedly the noblest part of the pile. It is
rightly considered Herrera's masterpiece. The
shape is said to be that of a Greek cross, but seemed
to me to be square. The west front is flanked by
square towers considerably over 200 feet high,
and terminating like those of the enceinte in
pinnacles. Over the crossing rises a stately
dome, supporting a graceful pyramid, above
which rises an iron cross. These towers are the
most ornamental features of the whole vast
pile.
The interior of the church, truly observes Mr
Lomas, " conveys exactly the idea which English
people attach to the word ' temple,' a place
wherein the majesty of the invisible dwarfs
everything human." It is constructed on the
model of the first plan of St Peter's. The lantern
is carried on four enormous piers, from which to
eight pilasters in the walls spring twenty-four
mighty arches, forming three naves. Giants
would seem to have been at work here. On
entering we find ourselves in the dark Lower
Choir, which is separated from the rest of the
church by three bronze railings and to which were
confined the lay worshippers. Above it is the
choir, which it is unusual to find in Spain raised
no MADRID
in a gallery at the west end of the church, instead
of blocking up the nave. Here Philip often
joined the monks in their devotions, his seat being
the one nearest the door in the south-east angle.
He was absorbed in prayer when on November
8th, 1571, during Vespers, a messenger entered
and announced to those assembled the glorious
victory obtained by Don John of Austria over
the Ottoman fleet. The King gave no sign that
he was elated, or that he had even heard the intel-
ligence, but at the conclusion of the office he
ordered a Te Deum to be intoned. He was a
man never elated by success or cast down by
failure. The evil tidings of the Armada found
him as unperturbed as the good news of Lepanto.
From the same seat he assisted at the solemn
requiem Mass chanted by night for the repose of
the soul of Mary, Queen of Scots. It is not with-
out a certain emotion that we gaze around in this
gaUery. The stalls are elegantly and chastely
carved in precious woods, after the designs of
Herrera. The lectern and crystal chandelier are
hardly so good. The eye turns at once to the
marble crucifix signed by Benvenuto Cellini,
who placed it among his finest works. Philip,
one day, covered the loins of the figure with his
handkerchief, a precedent which we see still
CHURCHES AND PUBLIC BUILDINGS iii
followed in many churches in Spain and in convent
chapels in France,
In the adjoining chambers, called the Ante-
coros, may be seen a statue converted into the
" likeness " of St. Lawrence, and two pictures by
Navarrete " el mudo." That artist is said to
have fallen foul of certain ecclesiastics by re-
presenting angels with beards, and an additional
rule was laid down that neither cats and dogs nor
any unbecoming figures were to be introduced into
rehgious pictures, but only such things as incited
to devotion. The frescoes are by Luca Giordano,
as are also those which decorate the eight vaults
of the church itself. In the choir Ubrary you may
see the splendid antiphoners, beautifully bound
and illuminated, and over a yard high by two
yards broad.
In the church is the simple tomb of Queen
Mercedes, first wife of his late Majesty, Don
Alfonso XII. The plain gold cross at her feet
was the offering of the British community of
Madrid, by whom, as indeed by the whole world,
her untimely death was profoundly deplored.
She is buried here and not in the mausoleum
below, as she was not the mother of a king.
The dome of the Pantheon is covered by the
steep flight of steps leading to the chancel, so that
112 MADRID
Mass is literally celebrated above the bodies of
the kings. The altar, which cost about £(?) 40,000, *
is isolated, and is made of marble and jasper, a 's>
single slab of the latter stone forming the table. \
According to the inscription on a bronze plate let
into the back of the altar, it contains relics of
Saints Peter and Paul, Lawrence and Vincent,
and a multitude of other saints, and was conse-
crated in presence of Philip by the Papal Nuncio,
Camillo Caietano, Patriarch of Alexandria, on
August 30th, 1595. The beauty of the reredos
or retablo is obscured by the dark hue of the stone
employed, and by the sombre colour assumed by
the paintings in course of the years. The light
also is very bad. The three stages into which
the retablo is divided correspond to the three
Grecian orders of architecture. The columns
are of dark red and green jasper, with capitals
and pedestals of bronze gilt. The statues re-
present (looking upwards) the Four Doctors
of the Church, the Four Evangelists, St James
and St Andrew, St Peter and St Paul. The
paintings depict the Nativity and Adoration
of the Magi, the Saviour bearing the Cross, the
Scourging at the Pillar, the Martyrdom of Saint
Lawrence, the Resurrection, the Descent of the
Holy Ghost and the Assumption. The cross
^1
CHURCHES AND PUBLIC BUILDINGS 113
surmounting the whole was made from the wood
of the Portuguese warship, " the Five Wounds."
The architect of this fine work was the Milanese
Giacomo Trezzo, the painters Tibaldi and Zuc-
caro, the sculptors Leone and Pompeio Leoni.
The sanctuary to the east contains the superb
tabernacle, designed by Herrera and executed by
Trezzo, with instruments invented by him for the
purpose. It was restored in 1827 by " the pious
and august " Ferdinand VII. after it had been
rifled and damaged by the French. The re-
hquaries in the sanctuary contain ten entire
bodies of saints, 144 heads, and 306 entire arms
and legs. Among these rehcs is the thigh of
Saint Lawrence, showing the roasted flesh and the
holes made by the skewers.
The sceptical foreigner will probably be more
interested by the statues above the oratorios or
royal tribunes surrounding the altar. We see
Charles V. with his wife, daughters and sisters,
Phihp II. with aU his wives, except Mary Tudor,
and his son, the miserable Infante Carlos. It
was not altogether a happy idea to represent a
Christian prince attended at the same time by his
three wives. All these statues are faithful
portraits. The oratorio on the Epistle side
adjoins the bare, narrow chamber in which the
H
114 MADRID
devout king breathed his last, quitting without
regret a world with which he had no sympathy
and in which he moved as a melancholy exile.
The church contains forty-eight side chapels
and altars, adorned by the paintings of Coello,
Navarrete, and others of less note. The best
pictures are to be seen in the Sacristia. Here
there are several works of Titian, Tintoretto, El
Greco, Zurbaran, and Ribera. The most interest-
ing canvas is the " Santa Forma " by Claudio
Coello. The heads are portraits of Charles II.
and his ministers. The incident depicted is the
ceremony of the Veneration of the Sacred Wafer,
which being trodden upon and defiled by Pro-
testants at Gorinchem in Holland, is said to have
exuded blood. It is preserved behind the picture
and exhibited twice a year.
Immediately under the high altar is the
Pantheon, the last resting-place of the kings and
queens of Spain. It is an octagonal chamber,
lined with precious marbles, which also in the
dreadfully sensible presence of death, seem to be
decaying. No such rich chamber was desired
by Philip. It dates from 1554.
Twenty-six marble urns placed in niches round
the chamber contain all that was mortal of the
monarchs of Spain and their consorts from Charles
I
!•
A
CHURCHES AND PUBLIC BUILDINGS 115
V. to Alfonso XII., Philip V. and Ferdinand VI.
excepted. There are tombs, too, awaiting the
living. Ascending the steps we pass the sealed
door of the Pudridero, where the bodies are kept
five years before being placed in the Pantheon,
and may visit the burial chambers reserved to the
Infantes and Infantas. Several of the vaults are
still empty. They are in purer, colder style than
the heavier Pantheon of the kings. As one
ascends to the living world from these awful
chambers, the question suggests itself, what is the
object of it all ? The Pyramids of Nile ought
to have convinced man once for all of the hope-
lessness of any effort to preserve his body un-
profaned and solemnly housed through all the
years. No matter how great the dynasty, how
strong the tomb, the day must come when the
jealously and reverently guarded ashes will form
the prey of some ghoulish invader. With Ram-
eses exposed to the gaze of wondering Cockneys,
with Alexander's tomb an object of curiosity to
tourists in the museum at Stamboul, with the
tombs of the kings of Judah explored on all-
fours by Cook's trippers, how can one hope for an
eternal immunity from profanation for the In-
valides, for Westminster, for the Escorial ? Kings
ought to have learnt the lesson that in the pages
ii6 MADRID
of history alone can they look for an earthly
immortality.
The convent occupies the southern part of the
building. It was inhabited, as I have said, by the
religious known as the Hermits of St Jerome or
Hieronymites, an Order established or recognised
by Pope Gregory XI. in 1373. If it stiU exists
it counts very few members and has played an
insignificant part in ecclesiastical history com-
pared with the spiritual descendants of Benedict,
Dominic, Francis, Bruno, and Ignatius. For
some reason or other Charles V. held the Hermits
in particular esteem, and it was this predilection
that determined his son to offer them the new
monastery in 156 1. The Order is likely to be best
remembered by the ecclesiologist for the peculiar
plan of its churches — cruciform, with diagonal
lines extending from the ends of the cross-piece
to the head of the upright limb.
The granite cloisters in the Doric style are, or
rather were, decorated with frescoes after designs
of Tibaldi, now shockingly " restored." In the
centre of the Patio de los EvangeUstas is a little
octagonal temple, covering a fountain. It is one
of Herrera's best works, in which granite and
marble have been combined with admirable skiU.
The white statues of the Evangelists at the comers
CHURCHES AND PUBLIC BUILDINGS 117
were sculptured by Monegro ; the appropriate
inscriptions are in Latin, Greek, Hebrew and
Syriac.
The three Chapter Rooms of the monastery
form a picture gallery of high interest. Titian is
represented by a Last Supper — sadly restored;
Tintoretto, by " Christ washing His Disciples'
feet," " Christ at the house of the Pharisee," and
" Queen Esther " — aU bought from the Collection
of our Charles I. by the Spanish Ambassador — and
by an " Ecce Homo," " Entombment," " Adora-
tion of the Shepherds," and " Annunciation " ;
Velazquez, by " The sons of Jacob " — perhaps
the best work in the collection ; El Mudo, by the
" Martyrdom of St James " ; El Greco, by the
"Dream of PhHip 11. (Glory, Purgatory, and Hell) ";
Ribera, by several canvasses. There is a good
"Martyrdom of St. Lawrence " by Titian in the
old chapel, and a few good pictures, especially by
El Mudo, in the upper cloisters, reached by a grand
staircase. One of the haUs is caUed the Aula de
Moral, being reserved for conferences on points
of morality.
The Library is decidedly of more interest than
the Convent. The books, oddly enough, are
arranged with the faces, instead of the backs,
outwards. The cases of ebony and cedar were
ii8 MADRID
designed by Herrera and harmonise well with the
marble pavement and tables. There are several
portraits of sovereigns here, and in cases are
arranged some of the rarer books, such as the
prayer-books of Charles V., Isabel the Catholic,
Philip III,, etc., a Virgil of the fifteenth century,
and an eleventh century Codex, with the four
Gospels written in letters of gold. This priceless
work was begun by order of Conrad II., Emperor
of the Romans. Eighteen pounds' weight of gold
is said to have been employed in the illumination.
The beginning of the collection was Philip's
own library, of 4000 volumes, to which was added
in 1614 the valuable library of the Sultan of
Morocco. It has of course been increased by
other collections from time to time. The Arabic
MSS., though not as numerous as might be
expected, are extremely valuable. Gayangos,
that patient Spanish Orientalist, I am informed,
never had the opportunity of inspecting them.
The palace occupies the northern side of the huge
edifice. It forms the least meritorious part of
Herrera's design, and was not improved by the
alterations effected by order of Charles IV. The
haUs are dull, dreary, and altogether in the style
of the eighteenth century — a sufficient con-
demnation. Those were days when every monarch
CHURCHES AND PUBLIC BUILDINGS 119
wanted a Versailles : we see the same effort at
imitation at Caserta, at the Superga, at Wilhelms-
hohe and Philippsruhe. There is, of course,
a Hall of Battles, celebrating with the exception
of the pictures of the fight at St Quentin, Lepanto,
and Higueruela, victories over the Dutch and
Flemings. National self-glorification may be
carried too far, but in England we are too forget-
ful of our glorious past. We do not dream of
adorning our palaces with pictures of Crecy,
Poitiers, Agincourt, Blenheim, Trafalgar, and
Waterloo. You may search England in vain for
monuments to William the Conqueror,the founder
of the monarchy, to Edward, our great justiciar,
to the Black Prince, to de Montfort or to Langton,
to whom we owe our constitutional liberties.
One unacquainted with our history might suppose
we sprang into existence a bare century ago. In
a generally conservative country like ours, this
complete detachment from the past appears
strangely contradictory.
This vast, empty palace contains little of
interest except the two rooms inhabited by
Phihp. Within them all is austerity and sim-
pHcity — as befitted a king who was a monk at
heart. The walls are whitewashed, the flooring
of brick. The footstools remind us of the gout
120 MADRID
from which the sad kmg suffered — certainly not
from over-indulgence in the good things of hfe.
In this room he worked from four in the morning
till midnight, his labours interrupted only by his
fervent devotions. The adjoining chamber is the
oratorio, of which I have already spoken, where
he could assist at the celebration of Mass. Here,
at the end of a two months' illness, patiently
borne, he died, grasping the very crucifix with
which his father had been consoled during his
last moments. His death, at any rate, was
happier and more dignified than that of his
victorious rival, Elizabeth, writhing out her life
at Richmond in an ecstasy of remorse and
chagrin.
Adjacent to the Escorial are several blocks of
buildings, such as the Campaiia, containing the
domestic offices, and the Casa del Principe, the
Petit Trianon of the palace, surrounded by
gardens. In these may be seen the cross marking
the spot where the baker's boy was burnt at the
stake in Philip's reign. A queer site for a palace
dedicated to the " menus plaisirs " !
The Escorial has been the scene of some im-
portant historical events, notably of the arrest
and imprisonment of the Infante Ferdinand, on
the charge of high treason against his father in
CHURCHES AND PUBLIC BUILDINGS 121
1807. He was afterwards Ferdinand VII. The
prince was confined in the Prior's cell and managed
to communicate with his friends by the aid of a
fishing line. Charles IV. had no option but to
pardon his son, whose intrigues resulted indirectly
in the spoliation of the palace which had been his
prison, by the French a year or two later.
Not without rehef will the visitor leave these
interminable halls and corridors over which
broods the presence of death, and seek the little
Silla del Rey, or King's Chair, a mile and a half
from the pile. It is a natural seat, formed of
granite rocks, where Philip used to watch the
progress of the building operations. It is worth
visiting as affording one of the pretty views to be
obtained in the midst of a generally uninviting
district.
After a visit to the Escorial, the Palace of La
Gran j a wiU seem what it was intended to be —
the house of hfe and gaiety. At any other time
it would seem a rather duU and depressing
imitation of Versailles. It is called the Grange
or Farm and appropriately enough is in the midst
of charming scenery. Trees afford a shade not too
often to be found in barren, scorched Castile.
And in the background the snowy Guadarrama
lift their heads above the pine forests. On the
122 MADRID
whole one does not blame Philip V. for his choice
of a royal domain, or wonder why the present
King's father and mother spent much of their
time here, soon after their marriage. Yet at
this height of 4000 feet above the sea, it must be
an Arctic spot at all seasons except summer. La
Gran j a — or San Ildefonso, to give it its official
name — is the residence of the Court in summer.
If the Escorial expresses in stone the character
of its founder, the same cannot be said of this
palace, for the fifth Philip was of almost as gloomy
a temper as the first. He spent very little time
at the pleasaunce he had decreed, for he died a few
months after its completion in 1746. Here in
1724 he abdicated the throne in favour of his son,
Don Luis, on whose death eight months later he
was constrained to resume the royal authority.
The palace itself is not a very interesting
structure. The principal fagade dates from 1737,
and is buttressed by columns and pilasters,
supporting an entablature and balustrade. Over
the middle rises an attic story, also surmounted
with a balustrade, supported by four Caryatides
representing the seasons, between them being
the coat-of-arms of Spain and the Bourbons.
This front was designed by Juvarra, and is the
most tasteful portion of the building, to which
CHURCHES AND PUBLIC BUILDINGS 123
additions have been made at different epochs
with httle regard to harmony or good taste.
The interior, however, reflects the taste of the
present august occupants. Much of the heavy
rubbish accumulated in preceding centuries has
been relegated to the lumber room, and the vast
halls and corridors have been refurnished
throughout. Rich tapestries cover the walls,
and the palace stiU contains upwards of 300
pictures, though the fines l works of art have gone
to fill the galleries of Madrid. The chapel is only
worth visiting for the tombs of Phihp V. and his
Italian Queen.
But if the Palace of San Ildefonso hardly
rewards the visitor for his journey from Madrid,
the park is a thing of beauty and a joy at least
during a long day. Here flourish the elm, the
lime, the pine, and the chestnut, forming delicious
woods. In the ornamental gardens exists the
very finest system of fountains the world has seen.
Philip V. far surpassed the achievements of the
Roi Soleil in this direction. The first visit is
naturally to the lake, a beautiful expanse of water
on the bank of which is situated the important
piscicultural establishment, founded in 1867 by
the King-Consort Francisco.
The gardens are filled with statues of mytho-
124 MADRID
logical characters, grouped with great skill among
the foliage. Those most admired are the Lucretia,
Daphne, Phoebus, and America. Especially
beautiful is the group of Diana and her nymphs
surprised by Actason, in the centre of a magnificent
fountain. Contemplating the play of the waters
Philip V. is said to have exclaimed " This has
amused me three minutes and cost me three
millions." A still finer and taller column of
water issues from the Trumpet of Fame, breaking
in a shower of crystalline drops 130 feet above
the water level ; while miniature rainbows inter-
lace and form an aureole round the head of the
figure. In the centre of another lake, Latona is
seen, embracing her children, while her enemies,
transformed into frogs, vomit forth jets of water
in impotent rage, which cross and recross, forming
arches in bewildering variety.
There is nothing equal to this to be seen else-
where. The achievements of the immortal Mr
Brock with fire have been eclipsed by Renato
Firmin with the conflicting element. Spain can
boast the finest display of hydrotechnics in the
world.
Before we leave this favourite home of His
Catholic Majesty it is worth while to recall a few
of the events of which it has been the theatre. On
CHURCHES AND PUBLIC BUILDINGS 125
the 17th September 1832, Ferdinand VII. lay
here dying. All those round him — his family,
his ministers, even the garrison — were devoted to
the interests of Don Carlos, and even his confessor
ceased not to importune the dying king to revoke
the Pragmatic Sanction and to decree the ex-
clusion of his own infant daughter from the
throne. Queen Cristina, in the face of such pres-
sure, remained inactive and despairing. With his
hand guided, it is said, by the Bishop of Leon,
Ferdinand at last traced his feeble signature to the
decree which disinherited his child. The triumph
of the CarUst faction seemed complete. Suddenly
at the doors of the palace appeared the Queen's
sister, Doiia Luisa Carlota, a woman of such spirit
that no one there — minister or officer or prelate —
dared bar her way to the King's bedside. The
court presently resounded with her shrill de-
nunciations of the Queen's want of courage, of
the King's weakness. She summoned to her
presence the trembling minister, Calomarde, and
when he offered his hand, struck him on the face.
" White hands do not wound " stammered the
statesman and fled from the presence of the royal
maenad. Before such a tempest of righteous
indignation, intriguers and schemers retired.
Force at the last can always break through the
126 MADRID
meshes of treachery. Many of those who wit-
nessed the memorable scene must have thought
of the furious bull at Madrid which bore down
before it the most dexterous of banderilleros, the
bravest of espadas, and breaking over the
barriers, dispersed a whole population. Before
nightfall the decree was revoked and the suc-
cession of the Infanta Isabella confirmed anew
by royal decree. Bravo Luisa Carlota !
Four years later, Cristina, now regent, had to
face alone and unprotected, a mob headed by the
palace guard, which broke into her room, loudly
demanding the re-establishment of the Con-
stitution of 1812. The Queen, unmoved and
tactful, asked the deputation if they knew what
the constitution was. According to the Honour-
able John Hay (see his " Castilian Days ") they
replied, " No, but we hear it is a good thing, and
will make salt cheaper." The story like most
good ones, is certainly untrue, and may be classed
with the legend that in 1893 when there was an
agitation in Belgium for an extended franchise,
some peasant women presented themselves at the
Town Hall with buckets to carry away their share
of the " Suffrage ! "
The only other royal residence which can form
the goal of an excursion from Madrid is El Pardo,
CHURCHES AND PUBLIC BUILDINGS 127
a shooting-box on a large scale, six miles from the
capital. The hunting seat built here by Enrique
III. was replaced by a palace in 1543. The
building is very simple, and contains but a single
court. The walls in the interior are hung with
tapestries after the designs of Goya (made in
Madrid) and Teniers (made at Les Gobelins).
Students of Spanish art should visit this palace
for a sight of the best of the very few remaining
works of Gaspar Becerra— the Legend of Perseus
and Andromeda. The chapel contains a copy
of Ribalta's altar-piece in Magdalen Chapel,
Oxford. Over the staircase is a fine equestrian
portrait of Don John of Austria, attributed to
Ribera. These works of art having been inspected,
there is little to detain you at El Pardo. The
shooting in the adjacent covers is excellent, but
few of my readers wiU have the time or
opportunity to prove this for themselves.
VII
ALCALA DE HENARES
Twenty-one miles from Madrid, on a plain two
thousand feet above sea-level, is the Httle town of
Alcala de Henares, whose annals are so intimately
associated with the history of Spain that it
deserves more than passing mention. In 1510,
Alcala was a famous University town, esteemed
equally with Salamanca, and frequented by the
most learned professors, doctors, and students of
that age. Here, it is claimed, was bom the great
Miguel Cervantes, and in the church of Santa
Maria he was baptised in 1547. Catharine of
Aragon, first of the wives of Henry VIII. of
England, was a native of the place. But long
before the sixteenth century, Alcala de Henares
was a town of importance, for the Romans settled
here, and named the centre Complutum, while
the Moors, at a later date, fortified the Roman
station and called it the " stronghold " or " castle."
Until the University, founded here by Cardinal
Ximenez, was removed to Madrid, Alcala de
Henares was a town of note, populated by over
128
ALCALA DE HENARES 129
ten thousand students. As early as the thirteenth
century the Court frequently sat here to adminis-
ter the fueros, and Alcala was one of the first
bishoprics founded in Spain. Cervantes speaks of
the town of his birth as " the famous Complutum " ;
and Erasmus, in a letter to Vives, relates that
" the cultivation of languages and polite letters has
given celebrity to the University of Alcald, whose
principal ornament is that illustrious and truly
worthy old man, Anthony de Nebrija, who has
outstripped many Nestors."
The students of the Alcala University were
a very merry community. Many are the tales
repeated of their frolics, their escapades, and
their Bohemianism. They prided themselves
upon the carelessness of their dress, and at holiday
time sang to the guitar for chance coppers thrown
from the windows. Yet there were many serious
students in the colleges, which numbered about
twenty, and many youths sat at the feet of the
sage teachers and learned lecturers who were
retained by Cardinal Ximenez for the instruction
of the pupils. Cervantes was among the students
of Alcala before he went to Madrid ; but we read
that he was not much inclined to follow the
academic course, preferring poetry and romance
to the dry tomes of theology and philosophy.
130 MADRID
The ancient University was first established on
the site of the present Colegio de San Ildefonso,
which was built in 1583. Two celebrated archi-
tects, Gumiel and Gil de Hontanon, designed the
building, and showed great taste in planning the
front and the patios. The amphitheatre, in which
the honours of the college were bestowed upon
diligent students, and the chapel, are fairly pre-
served, and contain some interesting memorials
of the days of prosperity and culture at Alcala.
In design the chapel is a curious mixture of the
Renaissance and Morisco styles of architecture.
Ximenez, more correctly called Cisneros, is one
of the most impressive figures in Spanish history.
He was a shrewd politician, a profound pietist,
a promoter of learning, an ascetic, and an ex-
emplar in works of charity. He was, however,
tainted with fanaticism, and at his direction many
hundreds of ancient Arabic books were burned,
a step the wisdom of which is still a matter of
controversy. From 1516 till his death in 1518,
the Cardinal held the regency of Castile, an
office which provoked the resentment of many
old and noble houses in the kingdom, for,
though Ximenez was of high birth, he came of an
impoverished family. Upon being challenged by
the grandees for his authority, the Cardinal led
\
ALCALA DE HENARES 131
a deputation to the window of his palace, and
pointing to a body of armed men in the courtyard,
said : "By these powers I govern Castile until
Prince Carlos shall arrive or shall supersede me."
The worsting of the French invaders in Navarre
was due to the mihtant Cardinal's tactics. He
dismantled the forts, except Pamplona, which he
rendered almost unassailable, and having garri-
soned the capital of the kingdom, he defied
the troops of France. I'o him also Spain owed
the establishment of a militia, or citizen army,
though the institution found little favour with
the populace. Although Ximenez undoubtedly
checked the study of Hebrew and Arabic in
Spain, it must be remembered that his energy and
his zeal secured the University of Alcala de
Henares, and that he produced here the great
Polyglot Bible hence called the Complutensian.
The books which this censor permitted to be used
were " Catechisms, solid and simple explanations of
Christian doctrine, and other writings calculated
to enhghten the minds of the people."
A noteworthy figure connected with the history
of Alcala de Henares was the learned and liberal-
minded Nebrija, a reformer of a very different
cast of intellect from that of Cardinal Ximenez
who proved, however, his generous protector.
132 MADRID
Antonio de Nebrija was the Erasmus of Spain.
He spent ten years of study in Italy, and returned
to lecture at the University of Alcala and to
encourage learning among his countrymen.
Although Nebrija encountered strong opposition in
certain quarters, he strove till his old age to im-
prove education in Spain, and contrived to gain
the countenance of many persons of high position.
Queen Isabella the Catholic was herself amongst
his pupils.
The surroundings of AlcalA de Henares are
austere and bleak ; and if it were not for the hills
that screen the town from the north, it would be
considerably colder and more wind-swept than it
is. A stream meanders by the town, and elms
and poplars grow on this green uphmd of the
sierras ; but the environs of Alcala cannot be
called sylvan. Towards Meco, at one time a
Moorish settlement, the country is of a softer and
more pastoral character, enlivened by numerous
mountain rivulets. This v Uage is about four
miles from Alcala.
The Archbishop's Palace is one of the monu-
ments of the place, and it is now used as a re-
pository for historical archives. Berruguete and
other celebrated architects planned the building,
which has some interesting patios and a line
(
I
ALCALA DE HENARES 133
staircase, showing the ornate tendency of the age
in which the palace was designed.
The Colegiata has been restored. Its chief
object of interest is the beautiful monument to
Cardinal Ximenez, by FanceUi, an Italian sculptor.
Juan Frances executed the reja, or screen, of the
chapel in this edifice, and the saints Justo and
Pastor, to whom the Colegiata is dedicated, were
buried in the vault.
In Santa Maria, an unimposing church, Cer-
vantes was christened ; and upon the house where
he was born we shall find an inscription containing
a tribute to his genius. Several towns in Spain
claim to be the birthplace of the author of " Don
Quixote," and it is not absolutely proved that
he was born at Alcalji de Henares. There is,
however, scarcely any doubt that he was baptised
here, for the registers contain an entry of his
baptism, and, as children in Spain were christened
almost immediately after their birth, there is
perhaps the strongest claim to be set forth by the
townspeople, who aver that Alcala is " the real
birthplace of the immortal Cervantes."
Still follo\\dng the windings of the river
Henares, we may reach Guadalajara in a rail
journey of about fourteen miles from AlcaM.
Here the Castihan landscape is of a less severe
134 MADRID
aspect, and the Roman and Moorish associations
of the town tempt the traveller to linger for a
while. The situation of Guadalajara is elevated,
and the Romans made it a fortified place, and
built an aqueduct from the hills.
The Palace of the Duke del Infantado is the
most interesting building in the town. It is in the
blended styles of the Goths and the reconciled
Moors, and the patios are beautifully decorated,
though much of the ornamentation of the interior
has suffered the impairment of age and neglect.
On our way from Madrid to these fascinating
towns of Castile we gain a ghmpse of the stem
order of the natural surroundings amongst which
Cervantes was reared. This is not " the sunny
Spain " of the south, but the Spain of the hardy
Castilians, and the country of wind-searched
highlands, where vegetation is thin, and whole
districts are without foliage and shade. The
towns and villages are often in green oases of the
dreary table-land, but some of them are among
the rocks of this sterile region, and exposed to
snowstorms and hurricanes. Were it not for the
system of irrigation which the Spaniards learned
from the Moors, the plight of the farmer upon
these table-lands would be melancholy indeed ;
but even in the bleakest territory the system of
ALCALA DE HENARES 135
artificially watering the parched, sun-baked soil
works wonders, and grain crops smile here and
there among the savage hill-slopes of the despo-
blados or wastes, and almost everywhere flocks
gain pasturage in the summer.
VIII
THE BULL-FIGHT
The origin and antiquity of buU-fighting in Spain
is a subject that has engaged the minds of many
writers, and led to much research and intermin-
able discussion. It is most probable that those
who incline to the opinion that this pastime was
instituted by the Romans are in the right, though
there is undoubted evidence that the Moors, if
they did not introduce the corrida, or lidia,
adopted it, and carried bull-fighting to perfection.
The sport, however, seems to accord more with the
character of the Roman than the Moorish con-
querors of Spain, for the Romans possessed a
passion for scenes of combat in the arena between
gladiators and fierce animals, whereas there is no
such strong testimony to show that the Moors
took an equal delight in these feats of the
circus.
The taurilia of the Romans resembled the fights
with bulls that may be witnessed to-day in every
large town of Spain. Whatever may have been
the origin of these contests, it is certain that, since
136
THE BULL-FIGHT 137
the days of the Moors, the bull-fight has endured
as the chief recreation of all classes of the popula-
tion. There is in no other country any sport that
can be compared with it in importance and in the
sway of its fascination upon the public. The
passion for horse-racing in England is not general,
and the diversion owes its popularity in a large
degree to the chances of gambling which it offers.
Eliminate betting from the turf, and you will find
that those who " foUow racing " simply from an
enthusiasm for rearing and running horses, and
those who enjoy the amusement from the mere
pleasure of watching competitions in speed
between horses form an almost insignificant
minority. In this country where horse-racing is
regarded as a national pastime, the proportion of
the populace that takes any interest in the breeding
of the horses, the technique of riding, and racing
per se is greatly restricted. But this is not the case
with bull-fighting in Spain. Here every one from
the noble to the mule-driver is learned in aU the
rules of the game, keenly critical of the exploits of
the performers in the ring, and ever ready to talk
with fervour upon the absorbing topic.
The hold which this pastime has upon the
Spanish imagination is so strong that it is a part
of the national character, as deep-seated as the
138 MADRID
sentiments of piety and loyalty, and as powerful
as the feeling of patriotism. King or peasant,
man or woman, every native of Spain is a lover of
the corrida ; every child plays at bull-fighting as
soon as he can walk ; and every youth, who would
be thought manly and a true son of Spain, yearns
to emulate the courage and the dexterity of the
espada.
Hundreds of volumes have been written in Spain
upon the art of bull-fighting, the history of the
ring, the Uves of eminent toreros, and the records
of famous arenas. Bull-fighting has produced an
array of ardent chroniclers, poets, and hosts of
journalists, and it has quickened the brush or
pencil of artists from before the time of Goya
down to Zuloaga.
The breeding of bulls for the ring may be
described as one of the national industries of
Spain. Noblemen endeavour to keep up the
breed and the fighting qualities of bulls, and the
rearing of bulls is the proper occupation of a
gentleman. The beautiful Duchess of Alba, the
friend of Goya, was an enthusiastic admirer of
the sport, and a breeder of buUs. The vacadas or
breeding estabhshments of Andalusia produce the
finest fighting bulls. They are considered fit for
the combat, or warrantable, at the age of five
THE BULL-FIGHT 139
years, when their value averages about £50 each.
Over a thousand of these highly-bred animals are
killed in the bull-rings of Spain annually, while the
number of horses gored to death is very much
larger.
In the old days bull-fights were mimic repre-
sentations of warfare, in which the true caballero
aspired to take part and to distinguish himself.
The toreros were amateurs belonging to high
families, and several of tiie kings of Spain were
expert exponents of the art of the espada. Acci-
dents and deaths in the arena were of common
occurrence, sometimes several knights were killed
during a single performance. At all royal fetes
a buU-fight was part of the amusement provided.
If a prince was bom, or married, the event was
celebrated by a grand display of bull-fighting,
while the coronation of a sovereign was always
made the occasion for a brilliant spectacle in the
ring. In Madrid these fights were held in the
Plaza Mayor, a big quadrangle in the centre of
the city. The plaza is surrounded by houses of
several storeys high, having balconies and an
arcade. The Panaderia, or Royal Bakery, served
as a royal stand, and here the Court assembled in
the balconies to witness the feats of the grandees,
who engaged the fierce bulls with lances. No one
«l
140 MADRID
of vulgar rank was permitted to take part in the
contest.
In the early days the torero sometimes en-
countered the bull with a spear, on foot, as
may be seen in old bull-fighting prints. The
use of horses in the ring came later. Dogs
were often set upon the bulls, to incense them,
and up to the year 1840 bears and other
animals were introduced into the ring. These
combats have been abandoned. In the old bull-
fighting bills we read of "a grand fight be-
tween a big elephant and two big bulls." The
dogs were of proven courage, and bred for strength
and endurance. They often succeeded in pinning
the bull by the nose, and holding his head down ;
but frequently they lost their lives on the points
of his horns. Theophile Gautier, in " Wanderings
in Spain," describes this bull-baiting by dogs.
Despite the passion which the Spaniard has
always exhibited for the bull-fight, the amuse-
ment has been more than once condemned by the
Church and State. But such edicts and acts have
been withdrawn, and the crowd has once more
thronged the amphitheatre. Pope Pius V. issued
a proclamation against buU-fighting in the year
1567, but in 1576 Pope Clement VIII. revoked the
measure. At a much later date the corrida was
THE BULL-FIGHT 141
interdicted by Godoy, but the sport was again
revived, and continues to flourish at the present
time. The opponents of the ring to-day are in a
minority, but their number is slowly increasing,
and there seems to be something in the nature of a
humanitarian crusade against the sport. One or
two pubhcists are certainly opposed to the
pastime.
Nevertheless, tauromachy will die very slowly
in Spain. Bull-fighting holds the popular imagina-
tion as by a powerful spell, and it is a deep-rooted
institution of the country, revered by high and
low. Only at the Plaza de Toros does the
Spaniard lose his restraint and gravity, and shout
and cheer until he is hoarse. The poorest mendi-
cant in Madrid will go without food for a day, to
get a seat at the fight. And what can diminish
the admiration of the populace for the torero ? Is
he not the idol of the aristocracy, the hero of the
people ? He earns more than a Minister of State,
and infinitely more than a great writer. When
he kiUs a bull with a clever thrust, or smilingly
receives the furious onslaught of the beast upon
his danghng capa, the Plaza de Toros shakes with
the vociferations of the multitude. Flattered by
hidalgos, courted by handsome donas, applauded
by the crowd — the popular espada is the greatest
142 MADRID
man in Spain. Crowds assemble around his hotel,
to acclaim him as he comes forth clad for the fray,
in his glitter of tinsel, and glory of silk, plush and
diamonds.
From six to eight bulls are baited and killed
at each entertainment. Gautier says that, when
he attended a bull-fight in Madrid, eight bulls and
fourteen horses were done to death, and a chulo
slightly wounded. On feast days, in the
eighteenth century, as many as six bulls were
killed in the morning and twelve in the afternoon.
The training place or " university " of bull-
fighters is at Seville, and the most daring of the
schools of toreros are of the South of Spain.
Madrid is the scene of the espadas triumph, or of
his defeat, for though the spectators at the corrida
are ever ready to lavish applause upon the clever
performer with the lance or sword, they are cruelly
critical, and show httle mercy towards the
timorous or bungling artist. Even the famous
Bombita, the Madrid favourite, has known that
ominous stillness that succeeds an ill-rendered
thrust at a bull of unusual agility. The pubhc
will load Fuentes with their gold, and cheer him
to the echo when he displays his coolness and
dexterity, but the same public will not hesitate to
hiss the best espada who ever stepped into the
THE BULL-FIGHT 143
ring, when he commits an impropriety or misses
the opportunity of an instant to deHver a thrust of
the blade.
As in the old days of the tournament, fair
ladies smile upon and favour the bold torero.
There are instances of the exactions of these
high-born patronesses of the sport, which have
resulted in death for the espada who courted
their approbation. It is recorded that a royal
lady was so fascinated by an exceptionally agile
feat performed by a torero that she wished to
see it repeated. The desire was conveyed to the
performer. " It is more than my life is worth,"
he said. "It is the wish of the lady," returned
the messenger. Bowing low, the torero said :
" I dedicate my life to Her Royal Highness."
Again the bull charged ; but this time the un-
lucky athlete was caught on the horns of the
beast, whence he was removed — a corpse.
It is the custom in England to speak of
the espada and of bull-fighters collectively as
" matadors." The word is altogether inappro-
priate to the sport. We hear of young gentle-
men attending fancy dress balls in London,
attired as " a Spanish matador," or as a " torea-
dor." A bull-fighter in Spain is a torero in the
general sense, though the word really means
144 MADRID
one who engages the bull on foot. The per-
former with the sword, the most important
functionary in the ring, is known as the espada ;
and the man who charges the animal on horse-
back, with a spear or lance as a weapon, is called
a picador. Throwers of the darts are termed
banderilleros ; wavers of the gaudy cloaks, and
the assistants of the espadas, are called chulos.
These are the grades of toreros in their order of
precedence.
IX
THE ART OF THE BULL-FIGHTER
The Plaza de Toros, or bull ring, of Madrid, is a
great structure designed by Capra and Rodriguez
Ayuso in 1874. It u in the Moorish style of
architecture, with a fine facade and an imposing
entrance arch. According to one Spanish writer,
the total number of seats is 12,605, but other
writers give 15,000 and 14,000 as the number.
Phihp V. built the first bull-fighting arena in
Madrid, in 1747, although he was by no means
an enthusiast of the sport. The cost of the
present building was 3,000,000 reales.
The seats are divided into boxes and open
galleries, the boxes, or palcos de sombra — seats in
the shade — being in the best position for watching
the contests during the hot months. In early
spring a seat in the sun is to be preferred, for
the air of Madrid is keen at this season.
The sight of the Plaza de Toros on the day of
a great corrida leaves an impression that wiU
not quickly fade from the memory. In the
palcos are the rank, beauty, and wealth of Madrid,
K ^45
146 MADRID
while packed in the humbler seats is a vast mass
of the people. The ladies wear mantillas, and
carry fans, which flutter the whole time ; and
animation, devoid of any trace of rough behaviour,
characterises the immense crowd. A tense hush
falls on the throng when the first bull of the day
bounds in from the dark toril, and confronts
his gaily-attired persecutors in the big arena.
During the fight the spectators grow excited
almost to the verge of frenzy. There is a roar
of voices, and the sound of canes struck upon
the benches, an indescribable din, which reaches
its height when a popular espada delivers a
dexterous thrust of the blade into the neck of
the baffled and infuriated toro. While the combat
proceeds, there are alternating comments of
" Bravo toro," as the bull shows courage, and
groans and hisses when the animal displays
cowardice or apathy. Both the bull and the
men must act their parts with zeal, energy and
bravery, or the crowd is disappointed, and wont to
express disapprobation in an unqualified manner.
On the day of a corrida Madrid is roused into
a mood of joyous expectancy. The town is
en fete ; the streets are thronged, and every
kind of vehicle is seen in the procession to the
Plaza de Toros. For an hour the carriages
THE ART OF THE BULL-FIGHTER 147
stream in, and the crowd on foot files along to
the tiers of seats. Overhead is the vivid sky and
a burning sun, which brightens all that it shines
upon . Thousands of fans are waving ; thousands
of dark eyes gleam from the palcos. Presently
the music begins, from the large orchestra a
stirring air thrills the arena, and almost drowns
the voices of the crowd. One is reminded of a
scene in the amphitheatre in the days of the
grandeur of Rome, when gladiatorial contests
attracted a vast concourse of all classes of the
population, for the same love of daring and
agility still sways the passion of the people, and
the same indifference is evinced when blood flows.
The tournament opens with an imposing
procession of the bull-fighters, arrayed in all the
glory of their gala costumes, in which there is
a plentiful ghtter of tinsel, and spangles, and
gold braid. Two alguaciles, or mounted men in
a bygone garb of the police, ride in front of
the troop of toreros. The two espadas, who are
taking the leading part in the corrida to-day,
come next, and they are followed by the pica-
dores, or spearmen, who are well protected with
pads and leg-guards. Next come the banderil-
leros or dart-throwers, a nimble company, in
bright silk and velvet, and the rear of the pro-
148 MADRID
cession is made up of muleteros, with the gaily
trapped mules that are used to drag the corpses
of the bulls from the ring.
A bugle note rings out Hke a challenge, and
the key of the toril, or bulls' den, is thrown by the
President into the arena. The ring is now cleared
of all the combatants except a trio of picadores,
who, sitting astride their wretched nags, await
the entry of the bull. Amid the hush, toro rushes
into the arena, a huge black beast, with elongated
horns, a thick, brawny neck, a sleek, shining
coat, and a pair of flashing, angry eyes. He
paws the ground, and snorts, and catching sight
of the gaudy colours of the picadores, lowers his
head, and charges them. His assault is received
on the blunt point of the garrocha, or spear ; and,
incensed by the pain, he pauses, lashing his tail,
and deliberating a second attack. Perchance
the bull is not especially fierce or courageous.
He has led a placid hfe on the plains, and has
followed the herd-boy as sheep follow a shepherd.
But to-day he must fight and die, and if he is
indifferent at the sight of his assailants, means
must be employed to anger him.
But a vahant bull needs no such incitement
to fury. He is angry with every one, indignant
at the whole proceedings, and he charges the
THE ART OF THE BULL-FIGHTER 149
picador es with terrific vehemence. Sometimes
a rider is unhorsed, and, handicapped by his
pads and protectors, he is in peril till the atten-
dants divert the attention of toro.
The hapless horses are the worse sufferers,
for they cannot escape from the ring. They
serve as butts for the bull's horns ; they are
frequently ripped open, and sometimes lifted
off their feet by the horns of their maddened
enemy. To English eyes it is a heartrending
spectacle to see a sorry old horse, which has
patiently served man all his life, urged up to the
sharp horns of the bull, and made to receive his
cruel charges. The wounded horses lie quivering
and expiring in the ring ; a look of supplication
and suffering in their eyes fills the unaccustomed
spectator with compassion, and the sight of their
terrible injuries sickens the sensitive.
The banderilleros now appear, armed with steel
barbed darts, adorned with coloured papers,
and with coolness and dexterity, they approach
toro, and throw their stinging missiles at his neck
and shoulders. The bull winces, shakes his head,
and turns upon his tormentors. He chases one
of them across the ring ; the pursued banderillero
vaults over the high wooden barrier, and the
horns of the bull resound against the wood with
150 MADRID
a dull crash. Another dart-thrower runs up,
and deftly plants his weapons in the bull's flesh.
Again toro turns, and as he runs with lowered
horns, a third handerillero stands in his course,
leaps aside at the crucial instant, and delivers
his darts.
An expert handerillero will sit on a chair and
await the rush of toro. The agility and daring
of these performers is very extraordinary. If
the bull is apathetic, drastic means are used to
stir his anger. The handerillas de fuego, or fire
darts, are used to arouse his fury. These instru-
ments of irritation are provided with explosives,
which startle and infuriate the bull with their
noise and their sting. Now and then, a nimble
and frenzied bull, when pursuing a handerillero,
wiU even leap over the high barrier of the arena,
causing tremendous consternation among the
spectators . Sometimes a plucky bull-fighter grows
bolder, and dares the bull by every imaginable
device until, in a fatal moment, he receives a
thrust of the horn, and falls bleeding to the
ground.
Before entering the perilous arena, the toreros
receive the sacrament from the^ priest who is
always in attendance at bull-fights. During the
corrida the padre remains in waiting in the chapel
*
THE ART OF THE BULL-FIGHTER 151
of the Plaza de Toros, ready to minister, if
need be, to a fighter borne dying from the
scene.
The last great act in the drama is the suerte de
matar. It is then that the espada steps into the
ring, carrying his red cloth over one arm, while
the other arm is engaged with the sword. Bow-
ing to the President, the espada turns around
and faces the buU, who is now somewhat fatigued
from his exercise in chasing the banderilleros
and butting at the horses of the picadores. The
buU, whose neck bristles with the darts, stands
slowly moving his tail, and staring at his new
aggressor in sullen anger. Waving the miileta,
or red cloth, the espada advances to toro, and
impudently flutters the cloth in his face. The
bull charges ; the muleta receives his horns,
and is tossed in the air, while the espada skips
aside. Again and again the bull attempts to
impale the man, but only succeeds in striking
the muleta. Baffled and exasperated, toro pauses
as though in sober reflection. How can he out-
wit that smiling, calm assailant who fixes him with
an insolent stare ? The buU walks round and
round the motionless espada, trying, as it were,
to find a weak point for a charge, but the swords-
man follows every movement with a shrewd
152 MADRID
and practised eye, and even divines what ruse
the bull intends to adopt.
It is a wonderful display of coolness and
courage. There are moments in the fight be-
tween the bull and the espada when a deep hush
spreads among the spectators ; and, then, as
the man swerves aside from the on-rush of the
beast, a deafening roar goes up from the crowd.
The last act is protracted at the discretion of
the espada, who is always dehghted to exhibit
his cleverness and nimbleness to his thousands
of admirers in the palcos and galleries. A master
of the art of the espada has an extensive reper-
toire of tricks and passes of the sword, which he
loves to display, and he will risk his life a dozen
times in the afternoon in exhibiting his skill
and prowess. Often the buU is stupid. He
must be made to prove his mettle. But usually
toro is already mad with anger when called upon
to fight the last duel with the espada. It is
curious to note how the muleta enrages the bull,
who seems to hate it more than the handerillas
or the pike of the picador.
At length the espada determines that toro
shall die. There is only one legitimate way to
kiU him. The thrust must be delivered in the
neck, and the point of the sword should reach
THE ART OF THE BULL-FIGHTER 153
the heart. Before this death-stroke there is
a stillness and tense feeling in the Plaza. Will
the espada blunder, or will the blade go home
at the first thrust. A rapt excitement is on the
faces of the crowd. And now the bull makes
his last headlong rush ; there is a flash of steel
in the sunshine, and the sword pierces the black
hide, and the blade disappears up to the hilt.
Toro staggers, turns and makes a final assault
on the espada, only to receive the muleta on his
horns. The bull falls, and blood gushes from
his wound. He lies dying amid the thunderous
din of applause. An attendant appears with a
narrow-bladed dagger. He stoops over the bull
and plunges the weapon into the spine, near the
head. With a shudder, toro dies. During the
babel of voices discussing the fight, the mules
are driven into the ring, traces are fixed to the
horns of the dead bull, and the corpse is dragged
out ; and with scarcely an interval, another victim
is turned into the arena.
In " Childe Harold," Lord Byron records his
impressions of a bull-fight :
" Thrice sounds the clarion ; lo ! the signal falls,
The den expands, and Expectation mute
Gapes round the silent circle's peopled walls.
Bounds with one lashing spring the mighty brute,
154 MADRID
And, wildly staring, spurns, with sounding foot,
The sand, nor blindly rushes on his foe ;
Here, there, he points his threatening front, to suit
His first attack, wide waving to and fro
His angry tail ; red rolls his eye's dilated glow.
Foil'd, bleeding, breathless, furious to the last,
Full in the centre stands the bull at bay —
'Mid wounds, and clinging darts, and lances brast,
And foes disabled in the brutal fray :
Shake the red cloak, and poise the ready brand ;
Once more through all he bursts his thundering way —
Vain rage ! the mantle quits the conynge hand.
Wraps his fierce eye — 'tis past — he sinks upon the sand ! "
Every literary man who has visited Madrid,
from the Chevalier de Bourgoanne to Mr Arthur
Symons, has given us his impressions of the sport
of bull-fighting. De Bourgoanne, in his " Travels
in Spain " (1789), writes of the severity with
which the spectators at the Madrid bull-fights
criticised any deficiencies on the part of the toreros.
Speaking of the final act of the corrida, the
Chevalier states that, " if the animal immediately
falls, the triumph of the conqueror is celebrated
by a thousand acclamations ; but if the blow
be not decisive, if the bull survives and again
strives to brave the fatal knife, the murmurs
are not less numerous. The espada, whose
address was about to be extolled to the skies,
THE ART OF THE BULL-FIGHTER 155
is considered only as a clumsy butcher. He
instantly endeavours to recover from his disgrace,
and disarm the severity of his judges."
De Bourgoanne found the Madrilehos divided
in their admiration for the two celebrated espadas
of that day. One coterie swore by Costillares ;
another avowed that Romero was the better
exponent of the art of tauromachy. This ex-
travagant enthusiasm of the Madrid populace,
aroused by the bull-fight, greatly bewildered
the French traveller ; but he admits that, in
spite of the indifference evinced by the spectators
at the corrida, the Spaniard is not lacking in
compassion nor " devoid of every amiable and
delicate emotion." He relates that the govern-
ment was alive to " the moral and political
inconvenience of that kind of frenzy," and the
economists declared that the destruction of so
many robust bulls was prejudicial to agriculture.
" The reigning monarch," writes the Chevalier,
" who endeavours to polish the manners of his
nation and to turn its attention towards more
useful objects, wishes to destroy in it an inclina-
tion in which he perceives nothing but incon-
venience ; but he is too wise to employ violent
means."
An American traveller, writing anonymously in
156 MADRID
1831, says that a bull-fight always drew several
thousand people to the Plaza. In the winter,
states this observer, the corridas took the form of
combats with young bulls, whose horns were
covered with pads or balls. These bulls were
called novillos emholados, and they were baited by
novices and amateurs. This writer describes the
tragic encounter of a notable torero, known as El
Sombrerero, who was so called because he had been
a hatter. El Sombrerero was the foremost espada
in Spain in his time, and he was wont to perform
the most valiant feats in the ring. He was once
fighting an exceptionally savage bull, which
swerved suddenly in a charge, and caught his
opponent upon the point of his horns. The espada
was lifted off, and carried from the ring in a state
of insensibility. He recovered of his injuries, and
resolved to abandon bull-fighting and to return to
his trade of hat-making. But the small earnings
of this occupation did not satisfy him, and El
Sombrerero went back to the ranks of the bull-
fighters. He had, however, lost his nerve, and in
a fight at Granada he was hissed for his timidity
in engaging a very fierce bull.
Manuel Romero was one of the most popular of
toreros in 1830. He was a short, rather stout man,
though well built and extremely nimble. His
THE ART OF THE BULL-FIGHTER 157
features had " an air of cold-blooded ferocity as
became one whose business it was to incur danger
and to deal death." Romero wore a very re-
splendent dress in the ring, with much lace and
jewellery.
Theophile Gautier describes a corrida with the
zest of one who found a genuine delight in the
spectacle. It is somewhat curious that men of
refined instincts can look on unconcernedly at the
sufferings of horses and bulls ; but human nature
presents such singular anomalies in abundance.
Gautier relates how Sevilla, a famous picador, had
his horse hfted off its legs, and tossed in the air by
the bull, while the rider maintained his coolness
and retained his seat in the saddle. Antonio
Rodriguez was a celebrated picador of this day
(1840), and Gautier pays a tribute to his valour
and extraordinary agihty. The favourite espadas
of this date were Juan Pastor and Joaquin
Rodriguez.
Is the courage of the Spanish torero declining ?
There are one-time aficionados of bull-fighting who
declare that the art is not so exciting, scientific,
and well studied as in bygone days, and yet there
is scarcely any decline in the absorbing interest
devoted to the corridas in all parts of the Peninsula.
Prosper Merimee, in his " Lettres a une Inconnue,"
158 MADRID
written in 1859, supports the view that bull-
fighting has deteriorated. He writes : "I was
present at a bull-fight on Monday, and it amused
me a very little indeed. I was unlucky enough
to know all too early in life what a degree of
excellence this sport can attain to, and after having
seen Montes, I really cannot look at his degene-
rate successors with any degree of pleasure. The
animals have degenerated, too, as well as the men."
No doubt there are many able exponents of f
bull-fighting still left in Spain, and there are
writers in abundance who could probably prove
that the sport is as stirring as ever. We, who have
not seen Montes and Romero, and other dead heroes
of the Plaza de Toros, are scarcely in a position
to decide whether the bull-fighter's art has degene-
rated. If the daring of the espada of to-day is
called into question, it must be said that while
there are men who will stand motionless as
statues, and allow a furious bull to sniff at them,
and others who will stand still to the rush of a bull,
and receive the beast on the point of the sword,
there are still fighters prepared to risk their lives
in exhibitions of intrepidity. There remain some
toreros who perform the perilous feat of vaulting
over the bull with a pole, and many who expose
themselves to a deadly thrust of the horns while
THE ART OF THE BULL-FIGHTER 159
planting the darts in the animal's neck. The
coolness of several of the leading professors of bull-
fighting is unquestioned, and it cannot be denied
that the patrons of the ring are not still exacting
in their desire for hair-raising performances.
It is perhaps correct to state that there is a
little more sympathy for the horses than in the
old days of the lidia. Many Spanish people
express disgust at the sight of the mangled carcasses
of the miserable, worn-out horses, which are forced
to end their hard lives in this cruel manner. But
your true aficionado has no scruples of pity, and
he will assert that a buU does not fight at his best
until he has seen blood flow.
Perhaps the greatest of all bull - fighters
was Frascuelo. The Spaniards declare that no
torero has taken his place. Guerra, his rival,
was a fine fighter, but he has retired, and
lives on his laurels at Cordova. PYascuelo was
the leader of what may be called the dare-devil
school of buU-fighters. He was always at close
quarters with the bull, and he strove to out-do the
most daring espadas of his day. Bombita, or
Bombita-Chico, is a young torero of great courage
and especially popular in Madrid, where he was
born.
Mazzantini is now only seen occasionally in the
i6o MADRID
Plaza de Toros. He is a big stalwart man, but
past his prime, though he is still esteemed by his
admirers as the best fighter in Spain. Conejito,
who was wounded in Barcelona in 1903, is another
favourite of the pubhc. But the first exponent of
bull-fighting is, in the opinion of the majority, the
handsome and plucky Fuentes. This torero is not
only a proficient espada ; he plays all the parts in
the ring except that of -picador. Fuentes exercises
a weird power over his bulls. He fixes the bull
with his keen eyes as he approaches him, and steps
backward, slowly followed by the enraged and
fascinated toro, in whose neck he deliberately
sticks a dart. The spell of this man's eyes has a
subtle influence which seems to utterly bewilder a
bull. Again and again the bull advances to the
attack, only to turn aside from the glare of the
espada's eyes.
The favourite device of Bombita is to kneel
on the ground, shaking the mulefa in the bull's
face. In such a position it is, of course, almost
impossible for the espada to skip aside when
the bull charges, and the art of the trick hes in re-
ceiving the horns upon the red cloth. Guerra,
sometimes called Guerrita, used to aUow the bull
to pass so close to him that his side was often
scratched by the point of the horn.
THE ART OF THE BULL-FIGHTER i6i
Every stratagem and feat of the espada in
the final snerte of the ring has its technical name,
such as pase de pecho, pase natural, and paso
por alto, and all these tricks are closely watched
and criticised by the vast concourse of spectators.
Fuentes has written learnedly upon the theory
and practice of his art, describing the various
pases minutely. Those who are interested in
the hterature of the bull-ring will find a com-
plete account of the life of the bull from the placid
days of youth upon the plains, down to the last
tragic scene in the Plaza, in Los Toros, an illus-
trated pamphlet by E. Contreras y R. de Palacio.
Fuller and more advanced " tauromachian "
literature may be purchased in Madrid. Among
the works of note are Bedoya's Historia del Toreo,
Annales del Toreo, by Velazquez, and En la
Plaza, by Pascual Millan. There are several
magazines and journals much read by the devotees
of the sport, such as La Lidia and El Toreo.
Bull-fighting is a subject of perennial interest in
Madrid, and the literatura taurina, issued in the
city, would fill many book-shelves.
Pascual Millan describes the bull-fight as " a
grand spectacle in which art, bravery, nobihty,
light, sun, colour, animation, and beauty " all
play a part. This writer asserts that the theories
i62 MADRID
of bull-fighting can rarely be carried into practice,
as there is nothing stable or fixed in the art.
Pepe-Illo, a famous espada, wrote a treatise on
the conduct of the fighter in the arena, which
was highly interesting ; but, had his views been
put into practice, they would " have excluded
every bull-fighter from the arena." Seiior Millan
thinks that rules are impossible ; that every-
thing done in the ring is the outcome of inspira-
tion on the spur of the moment. Lagartijo
sums up the matter thus : " Bull-fighting is very
simple : you place yourself in front of the bull,
the bull comes and you move away ; you do
not move away, then the bull moves you away.
And there you are."
The directions as to moving aside when the
bull charges are plain enough, and the counsel
is obvious. But in the method of avoiding the
horns of the bull lies the art of the espada, and
in this movement he reveals his genius, and
displays adroitness, grace, and daring. No pro-
ficient performer ever allows toro to chase him
about the ring. He bounds aside as the bull
bears down upon him, and receives the furious
attack of the beast upon the fluttering muleta.
Sometimes the red cloth is waved cdoft, high
over the buU's horns, causing the animal to rear
THE ART OF THE BULL-FIGHTER 163
upon his hind legs in a savage effort to wreak
his rage on the offending muleta. An expert
torero knows perfectly well that the bull directs
his fury at the fluttering cloth or cloak rather
than at the man who manipulates it.
The boldest of bull-fighters, Espartero, stood
so pluckily in the path of a charging bull that
he was more than once thrown several yards
by a violent butt from the beast's horns. This
fighter used to employ his fists upon the bull's
head, and his method was always to fight at
the closest quarters. It was said that Espartero
suffered more fear of hunger than of death by
the horns of a buU ; and in his desire for fame
and wealth, he continually courted tragedy in
the ring and behaved with reckless daring.
Espartero was killed in 1894 during a fight
with the first bull of the day.
Guerra retired in 1899, and his leave-taking
was a source of much regret among the aficionados
of buU-fighting, who declared that he was the
last of the great toreros. Pascual Millan, the
chronicler of modem buU-fighting, asserts that
the successors of Guerra cannot be compared
with him for refinement and grace in their displays.
He gives prominence to Antonio Fuentes, " the
only one who came into the ring with some
J.*
i64 MADRID
foundation, bringing a certain personal note
which raised him a few inches above the common
level." Among the living exponents of the art
of the espada may be mentioned Torerito, Torres,
Reverte, Ronal, Algabeiio, and above all,
"Bombita."
The corrida may seem to assume an undue
importance in the life of Spain. It is, however,
to be regarded as a reflection of the Spanish
character, and bull-fighting in Madrid cannot
be dismissed as a mere recreation of the mob.
Bull-fighting is taken seriously among a serious-
minded people, who regard it as one of the great
institutions of the country. It is a survival of
the warlike temper, a manifestation of the love
of courage and the admiration for endurance,
and it remains as the last vestige of the traditions
of the age of chivalry in Spain.
This intense enthusiasm, this profound interest
in the killing of bulls is bewildering to the foreigner,
who cannot accept the sport in such a serious
spirit. It is almost as grave a matter as a canon
of the Church whether an espada wields the sword
in accordance with the tradition of the ring. The
writers upon buU-fighting are divided into schools
of critics and eulogists, who dissect every pase
minutelv, or extol the " aesthetics " of a finished
THE ART OF THE BULL-FIGHTER 165
artist with the darts or the sword. There are
volumes of serious hterature upon the lidia,
which amaze the stranger who peruses them.
We have nothing Hke it in the sporting hterature
of England. Our books upon hunting or racing
are not written with all the earnestness and
fervour of treatises on matters of faith ; but
the taurine monographs of Spain are composed
in the temper of piety, and the rules of the ring
are set down as though they were the articles
of a creed. When a famous jockey appears in
the street, he is not mobbed by a crowd of ad-
mirers ; but the espada in Spain is acclaimed
everywhere as a great hero and the darling of
the people.
Bull-fighting is a deep-rooted passion of the
people of Spain, and it has to be reckoned with in
any examination of the Spanish character. Its
ethics and its sociological significance cannot be
discussed here. We must accept the corrida,
whether we approve of it or not, as one of the chief
institutions of the capital of Spain. Madrid is the
Mecca of the bull-fighter.
X
CAFE LIFE OF THE MADRILENOS
In every part of Spain the cafe is a popular resort
and the rendezvous of friends. Here all classes
foregather to discuss the news, to criticise the new
buU-fighter, to extol a favourite dancer, to transact
business, to play at dominoes or draughts, to read
the journals, to sip coffee, and to smoke cigarettes.
Many hours of each day are dedicated by the
Madrileno to the caf^. He goes there as a matter
of routine for his morning refresco, and again in
the evening for his coffee with a dash of spirit.
The cafes are comfortable, and they provide
for different classes of customers. They are
never decorated in a resplendent manner ; but,
as Gautier observed, " this want of splendour
is amply compensated by the excellence and
variety of the refreshments." Gautier mentions
the Cafe de Levante among others, and this is
stiU a favourite resort of men-about-town. In the
CaUe de Alcala are three representative coffee-
houses, the Cafe de Madrid, the Cafe Suizo, and
the Cafe de Fomos. The Cafe Ingles is in the
i66
CAFE LIFE OF THE MADRILENOS 167
Calle de Sevilla. The houses of refreshment in the
Puerta del Sol are the resort of all types of Madrid
character, from the diplomat to the professional
swindler. From nine o'clock in the evening until
two in the morning these cafes are thronged.
The customary beverage is cafe con leche (coffee
with milk) or black coffee, with a drop of cognac.
Light wines and spirits are also provided, but these
are used sparingly by the majority of the Madri-
leilos, for, whatever may be the faults of the
Spaniard, immoderation in the use of alcohol is
certainly not one of them.
To attract the attention of the waiters at the
cafes, you clap your hands, or make a hissing
sound between your closed teeth. The coffee is
usually excellent, and the spirit is brought to you
in a bottle marked with measures. The crowds
in the Madrid cafes lack the picturesqueness of
those in some of the smaller towns of Castile,
Murcia, and Andalusia, where the dress of the
provinces is still worn. You will see no majas
in the capital ; the grisettes of Madrid cannot be
distinguished from the rest of the female popula-
tion. The capa is, however, still worn by men of
almost all ranks, and these, and the broad-brimmed
hats, give a touch of the romantic to the throngs in
the coffee-houses of the Puerta del Sol.
i68 MADRID
There are wine-shops and taverns in Madrid,
but the seats are not luxurious, and there is no
display of carved mahogany and engraved glass,
and no separation of the classes. The " accom-
modation " may be somewhat rude ; still the wine
is good and cheap, and the tone and atmosphere
of the posada are more wholesome than those of
the London public-house. A glass of the wine of
the country can be bought for a penny in these
taverns, and the finest wines cost only a few
pehce the glass. Immense wine-barrels flank the
walls, and there is an array of spirit and fruit
syrup bottles behind the counter.
The chief hotels of Madrid are the Hotel de la
Paz, Hotel del Universo, the Roma, and the Hotel
de Paris. They are centrally situated, and fairly
well appointed. The meals are almuerzo and
comida, corresponding to luncheon and dinner.
There is no meal in Spain resembling the hearty
English breakfast. The Spaniard takes a cup of
chocolate and a dry roU upon rising, and goes
about his business or his pleasure until eleven or
twelve o'clock, when almuerzo, the first real meal
of the day, is served.
Some of the Spanish dishes are only palatable
to English people after a taste for them has
been sedulously cultivated. Many of the viands
CAFE LIFE OF THE MADRILENOS 169
are flavoured with garlic. The menu for comida
consists of soup, fish, an egg dish, meat, some-
times a puchero or stew, and cakes and fruit.
Table wine is usually provided free of charge.
Every man smokes in the dining-room, both
during and after meals.
Among the best restaurants are the Fornos, the
Itahano and the Ingles.
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FAfADE OF THE HOSPITAL. CaLLE FuENCARRAL.
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La Latina.
t>LAtE 60.
Portal of the Hospital of the Conception or "La Latina'
IN THE CaLLE DE ToLEDO.
PLATE 6l.
Staircase of la Latina.
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Portal and Staircase of the Hospital de la Latina.
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PL^TE 103.
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The Concession of the Jubilee of the Porciuncula.
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PLATE 107.
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Church of San Cayetano.
PLATE 117.
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PLATE I 18.
Door in the Bishop's Chapel.
PLATE 119.
The Bishop's Chapel. Left Sipe of the Door.
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The Bishop's Chapel.
Right Side of the Door.
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Thf Bishop's Chapel.
Sepulchre of Dona Inks de Carvajal.
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FROM A picture IN THE PRADO OF THE PRINCE^OF THE
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OF ALLEGIANCE IN 1 789.
PLAtE 12 7.
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Fresco in San Antonio de la Florida, by Goya.
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Group of Angels in San Antonio de la Florida,
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PLATE 137.
Interior of the Church of San Antonio de la Florida.
PLATE 138.
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Paintings on the Centres of the Intrados of the Choir
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Paintings on the Intrados of the Chapel Arch, Left Side,
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PLATE 143.
Sax Antonio de la Florida.
Paintings on the Intrados of the Chapel Arch, Right Side,
BY Goya.
PLATE 144,
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San Antonio de la Florida.
Triangles formed by the Dome adjoining the
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PLATE 145.
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San Antonio de la Florida.
Triangles formed by the Dome adjoining the Choir
BY Goya.
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First Group on the Cupola to the Left of the Centre,
BY Goya.
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San Antonio de la Florida.
Second Group on the Cupola to the Left of the Centre,
BY Goya.
PLATE 150*
San Antonio de la Florida.
Centre of the Composition on the Cupola facing the
Entrance, by Goya.
PLATE 151.
San Antonio de la Florida.
First Group on the Cupola to the Right of the Centre,
BV Goya.
tLAlE 152.
San Antonio dk la Florida.
Second Group on the Cupola to the Right of the Centre,
BY Goya.
t>LATE 15,^.
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PLATE 155.
The Prado Gallery.
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PLATE 158.
PLATE 159.
Scene in the Life of Santo Domingo de Guzman,
BY Pedro Berrtjguete.
I'RADO.
PLATE I 60.
EccE Homo, by Luis de Morales.
PRADO.
PI ATE l6l.
The Baptism of Christ, by Navarrete.
PRADO.
M I I
J>LATE 162.
Portrait of Don Carlos, Son of Philip II.,
BY Alonso Sanchez Coello.
PRADO.
PLATli 163.
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PLATE 171,
Don Baltasar Carlos, by Velazquez.
PRADO.
PLATE 172.
Philip IV. in Hunting Costume, by Velazquez.
PRADO.
PLATfi 173.
Don Baltasar Carlos in Hunting Costume.
BY Velazquez.
PRADO.
PLATE 174.
Duke of Olivares, by Velazquez.
PRADO.
PLATE 175.
jEsop, by Velazquez.
FRADO.
PLATE 175,
St Antony Abbot visiting St Paul, by Velazquez.
PRADO.
PLATE 177.
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PLATE 178.
Las Meninas, by Velazquez.
PRADO.
PLATE 179.
Our Lady of the Immaculate Conception, by Murillo.
PRADO.
PLATE I 80.
El Tiisoso: St Elizabeth of Hungary tending the Sick
IN HER Hospital, by Murillo.
PRADO.
PLATE i8r.
V*. •'."■fc::" 'W-'Ha. -rrA*
Father Cabaxillas, by :Murii.lo.
PRADO,
PLATE 182.
The Child Jesus as Shepherd, by Murillo.
PRADO.
PLATH 183.
Detail of Plate 179, by Murillo.
PRADO.
PLATE 184.
The Vision of St Bernard, by Murillo.
PRADO.
PLATE 185.
The Virgin of the Rosary, by Murillo.
PRADO.
PLATE I 86.
The Child St John, by Murillo.
PRADO.
PLATE 187.
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Head of the Holy Shepherd (Fragment), by Murillo.
PRADO.
PLATE 190.
La Porciuncula (the Vision of St Francis),
by murillo.
prado.
PLATE 191.
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The Annunciation, by El Greco,
PRADO.
PLATE 195.
The Holy Family, by El Greco.
PRADO.
PLAtE 196.
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PRADO.
PLATK 107.
The dead Christ in the Arms of God the Father,
BY El Greco.
PRADO.
PLATE 198.
Charles IV., by Goya.
PRADO.
PLATE 199.
Queen Maria Luisa, by Goya.
FRADO.
PLATE 2CO.
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Goya at the Age of 80, by V. L6pez.
PRADO.
PLATE 204.
Jesus and Mary Magdalene, by Correggio.
PRADO.
fLAtE rioS-
The Holy Family and the Lamb, by Rafael.
PRADO.
{►LAtE io6.
A Cardinal, by Rafael.
PRADO.
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Portrait of Albrecht Di rer, by Himself.
PRADO.
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The Three Graces, by Rubens.
PRADO.
PLATE 214.
The Holy Faiiilv, by Rvbens.
PRADO.
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PLATE 217,
The Catholic Sovereigns adoring the Virgin, by Juan de
BORGONA. PRADO.
PLATE 2 I 8.
A Gothic King, by Alonso Cano.
PRADO.
PLATE 219.
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A Soul in Pain, by Ribalta.
PRADO.
PLATE 221.
Portrait of Philip II., by Pantoja de la Cruz.
PRADO.
tLAtE 222.
Portrait of Pedro Berruguete. 15TH Century.
COLLECTION OF DON JOSE DE LAZARO GALDEANO.
PLATB :223.
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PRADO MUSEUM.
PLATE 225.
The Empress Isabel of Portugal, Wife of Charles V.
The prado.
M 15
PLATE 226.
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Effigy of St Ferdinand, King of Spain.
Chapel Royal.
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PLATE 234
C I. Spanish Man-at-Arms, isth Century.
ROYAL ARMOURY.
t>LATE 235,
C 4. Spanish Crossbowman, isth Century.
ROYAL ARMOURY.
ptAtE 236.
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C 2. Spanish Halberdier, isth CENirRV.
ROYAL ARMOURY.
PLATE 237.
Mace-Bearer of the i6th Century with Surcoat
DISPLAYING THE ArMS OF CaSTILE AND LeON.
PLATE 238.
A 26. Tilting Harness of Charles V.
ROYAL ARMOURY.
PLATE 239.
A 112. Armour presented to Charles \'. by the
Duke of ^Mantua.
royal armoury.
PLATE 240.
Armour of Charles V. made by Desiderio Colman.
(1849 catalogue,)
royal armoury.
PLATE 241.
A 231. Armour made for Prince Philip (II.) by
Wolf of Landshut (1550).
royal armoury.
M 16
PLATE 242.
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Armour of Charles V.. Augsburg or Nuremberg Make.
(1849 catalogue.)
royal armoury.
PLATE 243.
A 17. Tilting Harness of Charles V. made
BY Desiderio Colman, Helmschmied.
ROYAL ARMOURY.
PLATE 244.
A 65. Tilting Harness of Charles V.
ROYAL ARMOURY.
I»LATfi 24s.
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A 149. Armour of Charles V. (1541).
ROYAL ARMOURY.
PLATE 246.
A 243. Equestrian Armour of Philip II. made by
SiGMUND WOIF OF LaNDSHUT.
ROYAL ARMOURY.
tLAtE 247.
Armour of King Philip II.
ROYAL ARMOURY.
PLAtfi 245i.
Armour of Philip II., engraved with the
Royal Arms of England.
ROYAL armoury.
fLAtfe 24c).
A 290. Armour of King Sebastian of Portugal.
ROYAL ARMOURY.
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A 291. Armour of Philip III. made by Lucio Picinino
OF Milan.
ROYAL ARMOURY.
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Armour made at Pamplona for the Duke of Savoy (1620).
royai. armoury.
PLATE 253.
Half Armour of Philip IV,
ROYAL ARMOURY.
PLATE 254.
Milanese Brigantine which belonged to Charles V.
ROYAL ARMOURY.
PLATE 255.
B I. Boy's Half Armour made in Italy for the Infante,
AFTERWARDS PhILIP HI.
royal armoury.
PLATE 256.
D I. Boy's Half Armour made for the Infante,
AFTERWARDS PhILIP III. (SECOND ViEW.)
ROYAL ARMOURY.
PLATE 257.
B 4.
M 17
Half Armour presented to the Infante, afterwards
Philip III., by the Duke' of Terranova.
ROYAL ARMOURY.
PLATE 258,
B 18. Boy's Half Armour made for the Infante
Fernando, Son of Philip III.
ROYAL ARMOURY.
PLATE 259,
Half Armour belonging to Prince Philip,
AETERWARDS PhILIP IV.
KOYAL ARMOURY.
PLATE 260(
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PLATE 261.
A 434. Gorget of Philip II.
Subject: The Battle of Nieuport.
royal armoury.
PLATE 262.
Helmet of Philip II. made at Augsburg in 1549.
ROYAL ARMOURY.
t>LAtE 2fi^.
A 243. Helmet of Philip II. made by Wolf of Landshut
IN 1554.
ROYAL ARMOURY.
fLATE 264.
A 290. BURGONET OF KiNG SEBASTIAN OF PORTUGAL.
ROYAI- ARMOURY.
PLATE 265.
^r.^ PhtiiP III BY LUCIO PiCININO.
\ 092. BURGONET MADE FOR PHILIP
ROYAL ARMOURY.
PLATE 266.
A 350. Helmet for the Duke of Savoy (Side View)
ROYAL armoury.
PLATE 267.
D 3. BURGONET OF ChARLES V. DESIGNED BY GlULIO ROMANO.
ROYAL ARMOURY.
PLATE 268.
M 5. Helmet of Francis I. of France, taken at
THE Battle of Pavia.
royal armoury.
PLATE 269
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OF Mustafa, Bey of Oran, in 1722.
1533. Steel Turban of Alt Pasha, Turkish Admiral
at Lepanto.
royal armoury.
PLATE 270.
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PLATE 272
D 79. Shield presented to Philip III, by the
Duke of Savoy in 1603.
ROYAL armoury.
PLATE 273.
D 86. Moorish Leather Shield, End of 15TH Century.
ROYAL armoury.
M iS
PLATE 27^,
M 6. Shield and Sword of Francis I. of France, taken
AT THE Battle of Pavia. Design : The Gallic Cock
attacking a Warrior and putting him to Flight.
roval armoury.
PLATE 275,
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PLATE 277.
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TuRKiSH Saddle given to Charles III.
ROYAL ARMOURY.
PLATE 278.
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Armour of a Greyhound,
royal armoury.
t>LAtE 28O1
1987, 1992. Spanish Arquebuses, End of i6th Century.
1955. Petronel, i6th Century.
196 1. Spanish Arquebus, with Octagonal Barrel inlaid with
Mother of Pearl and Ivory, i6th Century.
1972, 1977, 1946. Keys or Cranks to cock the Arquebuses.
royal armoury.
t>LATE 281.-
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PLATE 282.
Sedan Chair of Philip V.
(FROM THE COACH-HOUSES OF THE ROYAL PALACE, MADRID.
ROYAL ARMOURY.
fLATE 283.
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PLATE 285.
Sedan Chair of Philip V.
(from the coach-houses of the royal palace, MADRID.)
ROYAL ARMOURY.
PLATE 286.
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PLATE 293.
Royal Academy of History.
Exterior ok the Triptych-Reliquary from the Stone
Monastery in Aragon.
PLATE 29^,
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PLATE 296,
Statue of Philip III. in the Plaza Mayor.
PLATE 29;,
Statue of Philip IV. in the Plaza de Oriente.
PLATE 298.
Statue of Espartero the Peace-Maker.
PLATE 299.
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Statue of General Concha, Marqui's del Duero.
PLATE 300
Statue of Velazquez.
t'LAttJ 30t.
Statue of Murillo
tLATfe 302 1
Retiro. Statue of Goya.
tLATfe 303.
Statue of Cervantes.
PLATfi 304.
Cervantks.
PLATte 30$.
Statue of Calderon df, la Barca.
(the work of j. figueras.)
M 20
PLATE 306i
Isabel the Catholic. Bronze Group in the Casteli.ana.
(the work of oms.)
PI.ATK 307.
Monument to the Memory of Columbus in the
Paseo de Recoletos,
Monument to the Memory of Columbus in the
Paseo de Recoletos.
PLATE 309.
Monument to the Memory of Columbus in the
Paseo de Recoletos.
Monument to the Memory of Columbus in the
Paseo de Recoi.etos.
PLATE 311.
Monument to the Memory of Columbus in the
Paseo dh Recoletos.
PLATE 312.
Monument to Commemorate the 2nd of May,
PLATE 313.
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Royal Palace. The Changing of the Guard
(Halberdiers).
PLATE 318.
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Principal Staircase.
fLAtE 325.
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The Throne.
PLAtE 32?.
Room of Charlks III.
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PLATE 331.
Gasparini Room of Charles III.
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His Majesty the King of Spain.
PLATE 336.
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PLATE 337.
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PLATE 338.
H.M. Queen Victoria.
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Plate 340.
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A Lady with a Mantilla.
tLAtE J43.
Mantillas.
PI ATE 344
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The Harvest Cart.
PLATE 346.
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PLATE 347.
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The Evangelists' Court.
PLATE 357.
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Interior of the Church.
PLATE 3S9.
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Altar-piece of the Santa Forma, painted by Claudio Coello.
(Sacristy of the Monastery.)
PLATE 364.
Retablo atthe. High Altar.
(Basilica of"'the Monastery.)
t>LATE 365.
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PLAtE 366.
The Tabernacle in the Escorial Church.
PLATE 367.
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Library of the Monastery.
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PLATE 377.
The Holy Family. by'Rafael.
(Casa del Prtxcipe at the Escorl\l.)
PLATE 378.
St Maurice and other- -Martyrs, by El Greco.
(Chapter Hall of the Escorial.)
PLATE 379.
The Dream of Philip II., by El Greco.
(Chapter Hall of the Escorial.)
PLATE ^80.
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PLATE 381.
The Washerwomen, by Goya.
(Tapestry in the Escorial Palace.)
PLAtE 382.
The China Merchant, by Goya.
(Tapestry in the Escorial Palace.)
HLAtfi 383
The Grape-Sellers, by Goya.
(Tapestry in the Escorial Palace.)
PLATE ^^4*
Children picking Fruit, by Goya.
(Tapestry in the Escorial Palace.)
PLATE 385.
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(Tapestry in the Escorial Palace.
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PLATE 386.
A Smoker, by Teniers.
(Casa del Principe at the Escorial.)
PLATE 387.
The Story of the Passion.
Diptych, in Ivory, of the 13TH Century.
(from THE CAMARI'n OF ST THERESA.)
PLATE 388.
Egyptian Bronzes. Amon-Ra and Isis.
NATIONAL ARCH.-EOLOGTCAL MUSEUM.
tLATB 3S9.
Egyptian Bronzes. Osiris and Osok-Api.
national arch.tiological museum.
t>LATE 390.
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Alcala de Henares.
Chapel of the "Oidor." Actual State of the North Wall.
PLATE 396.
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Details of the Fa9ade of the University.
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PLATE 402,
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^ ^ ^ $ ■;
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Alcala de Henares.
Paseo de la Estacion,
PLATE 404
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Alcala de Henares.
Moorish Palace.
Alcala de Henares.
Interior of the Cathedral.
tL^TE 406.
Alcala de Henares.
Interior of the Cathedral.
l>LAtE 407.
Alcala DE Hexarks.
The Cathedral, Nave.
PLATE 408.
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Alcala de Henares.
Chapel of Santiago in the Church of Santa Maria.
PLATE 413.
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Chapel of Santiago in the Church of Santa Maria.
PLATE 414.
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Details of the Western Court and Entrance Court,
Archbishop's Palace,
PLATE 416.
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CfiaterccM parte.
Alcala de Henares.
Frontispiece of a Book called "Vita Cristi Cartuxano."
M 27
PLATE 418.
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Head of a Bull, by Joaquin Di'ez.
PLATE 428.
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Principal Entrance to the New Plaza de Tokos.
PLAtE 430,
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PLATE 438.
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Bull-fight.
Frascuelo irritating the Bull with a Cloak before
KILLING Him.
PLATE 440.
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The Procession.
Entrance of the Bull.
PLATE 444.
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At Close Quarters.
t>LATE 445.
A Turn with his Back to the Bull.
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Fixing the Banderillas.
t'LAtE 446.
The Matador.
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Luis Mazzantini and Cuadrilla.
PI.ATK 453.
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•J
THE
SPANISH SERIES
By ALBERT F. CALVERT
ANEW and important series of volumes, dealing with
Spain in its various aspects, its history, its cities and
monuments. Each volume will be complete in itself
in a uniform binding, and the number and excellence of the
reproductions from pictures will justify the claim that these
books comprise the most copiously illustrated series that has
yet been issued, some volumes having over 400 pages of
reproductions of pictures, etc. The series will contain over
6,000 illustrations.
I
Goya
with 612
illustrations
2
Toledo
,. 510
t>
3
Madrid
.. 453
>9
4
Galicia
5
Seville
,. 300
tf
6
MURILLO
„ 165
t>
7
CORDOV.'V
160
1>
8
El Greco
.. 136
ft
9
Velazquez
,. 136
»f
10
Cervantes
II
The Prado
220
t f
12
The Escorial
„ 278
tt
13
Statuary in Spain
14
Cities of Andalucia .
IS
MuRciA and Valencia .
„ 300
19
16
Royal Palaces of Spain
., 164
>*
17
Spanish Arms and Armour .
.. 386
If
18
Granada and the Alhambr
A ,, 460
ft
19
Leon, Burgos and Salamanca
,. 462
it
20
Tapestries of the Royal Pa
LACE ,, 250
»9
21
Catalonia & Balearic Islan
DS ,, 250
l>
22
Santander, Vizcaya & Nava
RRE
23
Valladolid, Oviedo, Segovia
» A 1 'y
Zamora, Avila
and
Zar."
IGOZA
[
., 413
• 9
UNIFORM WITH THIS VOLUME
MURILLO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED
BY OVER i6s REPRODUCTIONS FROM PHOTO-
GRAPHS OF HIS MOST CELEBRATED PICTURES
WHILE the names of Miirillo and Velazquez are inseparably linked in
the history of Art as Spain's immortal contribution to the small band
of world-painters, the great Court-Painter to Philip IV. has ever re-
ceived the lion's share of public attention. Many learned and critical
works have been written about Murillo, but whereas Velazquez has
been familiarised to the general reader by the aid of small, popular biographies
the niche is still empty which it is hoped that this book will fill. '
In this volume the attempt has been made to show the painter's art in its
relation to the religious feehng of the age in which he lived, and his own feeUng
towards his art. MuriUo was the product of his religious era, and of his native
province, Andalusia. To Europe in his lifetime he signified little or nothing.
He painted to the order of the religious houses in his immediate vicinity ; his
works were immured in local monasteries and cathedrals, and, passing imme-
diately out of circulation, were forgotten or never known.
UNIFORM WITH THIS VOLUME
SPANISH ^\RMS
AND ARMOUR
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF
THE ROYAL ARMOURY AT MADRID. ILLUSTRATED
WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS.
DEDICATED BY SPECIAL PERMISSION TO
H.M. QUEEN MARIA CRISTINA OF SPAIN
ALTHOUGH several valuable and voluminous catalogues of the Spanish
Royal Armoury have, from time to time, been compiled, this " finest
collection of armour in the world " has been subjected so often to the
disturbing influences of fire, removal, and re-arrangement, that no
hand catalogue of the Museum is available, and this book has been
designed to serve both as a historical souvenir of the institution and a record of
its treasures.
The various exhibits with which the writer illustrates his narrative are repro-
duced to the number of nearly 400 on art paper, and the selection of weapons and
armour has been made with a view not only to render the series interesting to
the general reader, but to present a useful text book for the guidance of
artists, sculptors, antiquaries, costumiers, and all who are engaged in the repro-
duction or representation of European armoury.
UNIFORM WITH THIS VOLUME
THE ESCORIAL
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE
SPANISH ROYAL PALACE, MONASTERY AND MAUSO-
LEUM. ILLUSTRATED WITH PLANS AND 278 REPRO-
DUCTIONS FROM PICTURES AND PHOTOGRAPHS
THE Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
its gaunt, grey walls in one of the bleakest but most imposing districts
in the whole of Spain, was erected to commemorate a victory over the
French in 1557. It was occupied and pillaged by the French two and
a-half centuries later, and twice it has been greatly diminished by fire ;
but it remains to-day, not only the incarnate expression of the fanatic religious
character and political genius of Philip II., but the greatest mass of wrought
granite which exists on earth, the leviathan of architecture, the eighth wonder of
the world.
In the text of this book the author has endeavoured to reconstitute the
glories and tragedies of the living past of the Escorial, and to represent the
wonders of the stupendous edifice by reproductions of over two hundred and
seventy of the finest photographs and pictures obtainable. Both as a review
and a pictorial record it is hoped that the work will make a wide appeal among
all who are interested in the history, the architecture, and the art of Spain.
UNIFORM WITH THIS VOLUME
TOLEDO
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF
THE "CITY OF GENERATIONS," WITH 510
ILLUSTRATIONS
THE origin of Imperial Toledo, " the crown of Spain, the light of the
world, free from the time of the mighty Goths," is lost in the impene-
trable mists of antiquity. Mighty, unchangeable, invincible, the city
has been described by W'ormann as " a gigantic open-air museum of the
architectural history of early Spain, arranged upon a lofty and con-
spicuous table of rock."
But while some writers have declared that Toledo is a theatre with the
actors gone and only the scenery left, the author does not share the opinion.
He believes that the power and virihty ujxsn which Spain built up her
greatness is reasserting itself. The machinery of the theatre of Toledo is
rusty, the pulleys are jammed from long disuse, but the curtain is rising steadily
if slowly, and already can be heard the tuning-up of fiddles in its ancient
orchestra.
In this beUef the author of this volume has not only set forth the story of
Toledo's former greatness, but has endeavoured to place before his readers a
panorama of the city as it appears to-day, and to show cause for bis faith in the
greatness of the Toledo of the futtire.
UNIFORM WITH THIS VOLUME
SEVILLE
A HISTORICAL AND DESCRIPTIVE ACCOUNT,
WITH 300 ILLUSTRATIONS
SEVILLE, which has its place in mythology as the creation of Hercules,
and was more probably founded by the Phoenicians, which became
magnificent under the Roman rule, was made the capital of the Goths,
became the centre of Moslem power and splendour, and fell before the
military prowess of St. Ferdinand, is still the Queen of Andalusia, the
foster-mother of Velazquez and Murillo, the city of poets and pageantry and
love.
Seville is always gay, and responsive and fascinating to the receptive visitor,
and all sorts of people go there with all sorts of motives. The artist repairs
to the Andalusian city to fill his portfolio ; the lover of art makes the pilgrimage
to study Murillo in all his glory. The seasons of the Church attract thousands
from reasons of devotion or curiosity. And of ail these myriad visitors, who go
with their minds full of preconceived notions, not one has yet confessed to
being disappointed with Seville.
The author has here attempted to convey in the illustrations an impression
of this laughing city where all is gaiety and mirth and ever-blossoming roses,
where the people pursue pleasure as the serious business of life in an atmosphere
of exhilarating enjoyment.
UNIFORM WITH THIS VOLUME
LEON, BURGOS
AND SALAMANCA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH
462 ILLUSTRATIONS
IN Leon, once the capital of the second kingdom in Spain ; in Burgos, which
boasts one of the most magnificent cathedrals in Spain, and the custodian-
ship of the bones of the Cid ; and in Salamanca, with its university, wiiich
is one of the oldest in Europe, the author has selected three of the most
interesting relics of ancient grandeur in this country of departed greatness.
Leon today is nothing but a large agricultural village, torpid, silent, dilapi-
dated ; Burgos, which still retains traces of the Gotho-Castilian character, is a
gloomy and depleting capital ; and Salamanca is a city of magnificent buildings,
a broken hulk, spent by the storms that from time to time have devastated her.
Yet apart from the historical interest possessed by these cities, they still
make an irresistible appeal to the artist and the antiquary. They are content
with their stories of old-time greatness and their cathedrals, and these ancient
architectural splendours, undisturbed by the touch of a modernising and renovat-
ing spirit, continue to attract the visitor.
UNIFORM WITH THIS VOLUME
GRANADA AND
THE ALHAMBRA
A BRIEF HISTORY OF THE MOSLEM RULE IN
SPAIN, TOGETHER WITH A PARTICULAR ACCOUNT
OF THE CONSTRUCTION. THE ARCHITECTURE. AND
THE DECORATION OF THE MOORISH PALACE.
WITH 460 ILLUSTRATIONS. DEDICATED BY SPECIAL
PERMISSION TO H.I.M. THE EMPRESS EUGENIE
THIS volume is the third and abridged edition of a work which the author
was inspired to undertake by the surpassing loveliness of the Alhambra,
and by his disappointment in the discovery that no such thing as an
even moderately adequate illustrated souvenir of " this glorious sanc-
tuary of Spain " was obtainable. Keenly conscious of the want himself,
he essayed to supply it, and the result is a volume that has been acclaimed with
enthusiasm alike by critics, artists, architects, and archseologists.
In his preface to the first edition, Mr. Calvert wrote : "The Alhambra may
be Ukened to an exquisite opera which can only be appreciated to the full when
one is under the rpell of its magic influence. But as the witchery of an inspired
score can be recalled by the sound of an air whistled in the street, so — it is my
hope — the pale ghost of the Moorish fairy-land may live again in the memories of
travellers through the medium of this pictorial epitome."
UNIFORM WITH THIS VOLUME
VALENCIA
AND MURCIA
A GLANCE AT AFRICAN SPAIN, WITH 345 ILLUS-
TRATIONS
EVERY traveller to the fertile provinces which form the subject of this
volume has been forcibly impressed by their outward resemblance to
the more favoured parts of Northern Africa. And here, only to a
degree less than in Andalusia, the Moors made themselves very much
at home, and have left behind them ineffaceable impressions.
In this delightful region the dusky invaders established themselves at
Valencia, which they dubbed the City of Mirth. The history of the land is alike
a fevered dream of media'valism. Across its pages flit the shadowy forms of
Theodomir, and the Cid and Jaime lo Conqueridor, standing out against a back-
ground of serried hosts and flaming cities. The people to-day are true children
of the sun, passionate, vivacious, physically well proportioned. The country is
a terrestrial paradise, where the flowers ever blossom and the sun ever shines.
To-day the Valencian supplements the bounty of Nature by enterprise and
industry. His ports pulsate with traffic, and side by side with memorials of the
life of a thousand years ago, modem social Spain may be studied at Alicante
and El Cabanal, the Brighton and Trouville of the Peninsula.
UNIFORM WITH THIS VOLUME
V ALLADOLI D ,
OVIEDO, SEGOVIA,
ZAMORA, AVILA
AND ZARAGOZA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH
413 ILLUSTRATIONS
THE glory of Valladolid has departed, but the skeleton remains, and at-
tached to its ancient stones are the memories that Philip II. was bom
here, that here Cervantes Uved, and Christopher Columbus died. In
this one-time capital of Spain, in the Plaza Mayor, the fires of the
Inquisition were first lighted, and here Charles V. laid the foundation
of the Royal Armoury, which was afterwards transferred to Madrid.
More than seven hundred years have passed since Oviedo was the proud
capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia, though no
longer great, has still all the appurtenances of greatness, and with her granite
massiveness and austerity, she remains an aristocrat even among the aristocracy
of Spanish cities. Zamora, which has a history dating from time almost without
date, was the key of Leon and the centre of the endless wars between the Moors
and the Christians, which raged round it from the eighth to the eleventh centuries.
In this volume the author has striven to re-create the ancient greatness of
these six cities, and has preserved their memories in a wealth of excellent and
interesting illustrations.
UNIFORM WITH THIS VOLUME
GALICIA
THE LAND AND THE PEOPLE. A HISTORICAL
AND DESCRIPTIVE ACCOUNT. ILLUSTRATED
THE old kingdom of Galicia may not inaptly be termed the Wales of
Spain. Its people approximate closely to the old Celtic t5T)e, with a
large admixture of the Teutonic blood of that strange forgotten tribe,
the Suevi, who held sway here for two centuries. Though every
traveller in Spain has met the sturdy patient Gallegos in the capacity
of porters, servants, and workers, few trouble to \isit their coimtry — a pleasant
land of green hills, deep valleys, smiling lakes, brawling streams, and long fjords
like gulfs.
Here is situated the celebrated shrine and cathedral of Santiago de
Compostella, which during the ages of faith attracted so great a concourse of
pilgrims that their path was compared to the Milky Way. Other cities there
are in the old Kingdom — Conmna (dear to Enghshmen), Vigo, Orense, Ponte-
vedra — all described herein, and fraught with interest to the ecclesiologist and
artist. In many respects akin to Portugal, Galicia has also a special interest as
being the part of Spain least afi'ected by Moorish and trans-Pyrenean influences,
Readers of the wonderful studies of provincial life by the gifted novelist. Dona
Emilia Pardo de Bazan, will thank Mr. Calvert for his description of the
unfrequented country where she lays her scenes.
UNIFORM WITH THIS VOLUME
MAORI D
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE
SPANISH CAPITAL, WITH 453 ILLUSTRATIONS
MADRID is at once one of the most interesting and most maligned
cities in Europe. It stands at an elevation of z.-ioo feet above the
sea level, in the centre of an arid, treeless, waterless, and wind-blown
plain ; but whatever may be thought of the wisdom of selecting a
capital in such a situation, one cannot but admire the uniqueness of
its position, and the magnificence of its buildings, and one is forced to admit that,
having fairly entered the path of progress, Madrid bids fair to become one of the
handsomest and most prosperous of European cities.
The splendid promenades, the handsome buildings, and the spacious theatres
combine to make Madrid one of the first cities of the world, and the author has
endeavoured with the aid of the camera, to place every feature and aspect of the
Spanish metropolis before the reader. Some of the illustrations reproduced here
have been made familiar to the English public by reason of the interesting and
stirring events connected with the Spanish Royal Marriage, but the greater number
were either taken by the author, or are the work of photographers specially
employed to obtain new views for the purpose of this volume.
UNIFORM WITH THIS VOLUME
GOYA
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED
BY REPRODUCTIONS OF 612 OF HIS PICTURES
THE last of the old masters and the first of the modems, as he has been
called, Francisco Jose de Goya y Lucientes is not so familiarised to
English readers as his genius deserves. He was bom at a time when
the tradition of Velazquez was fading, and the condition of Spanish
painting was debased almost beyond hope of salvation ; he broke
through the academic tradition of imitation ; " he, next to Velazquez, is to be
accounted as the man whom the Impressionists of our time have to thank for
their most definite stimulus, their most immediate inspiration."
The genius of Goya was a robust, imperious, and fulminating genius ; his
iron temperament was passionate, dramatic, and revolutionary ; he painted
a pictvu-e as he would have fought a battle. He was an athletic warlike, and
indefatigable painter ; a naturaUst Uke Velazquez ; fantastic like Hogarth ;
eccentric Uke Rembrandt ; the last flame-coloured flash of Spanish genius.
It is impossible to reproduce his colouring ; but in the reproductions of his
works the author has endeavoured to convey to the reader some idea of Goya's
boldness of style, his mastery of frightful shadows and mysterious lights, and
his genius for e.xpressing all terrible emotions.
UNIFORM WITH THIS VOLUME
ROYAL PALACES
OF SPAIN
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN
PRINCIPAL PALACES OF THE SPANISH KINGS. WITH 164
ILLUSTRATIONS
SPAIN is beyond question the richest country in the world in the number
of its Royal Residences, and while few are without artistic importance, all
are rich in historical memories. Thus, from the Alcazar at Seville, which
is principally associated with Pedro the Cruel, to the Retiro, built to
divert the attention of Philip IV. from his country's decay ; from the Escorial,
in which the gloomy mind of Philip II. is perpetuated in stone, to La Granja,
which speaks of the anguish and humiliation of Christina before Sergeant Garcia
and his rude soldiery ; from Aranjuez to Rio Frio, and from El Pardo, darkened
by the agony of a good king, to Miramar, to which a widowed Queen retired to
mourn : all the history of Spain, from the splendid days of Charles V. to the present
time, is crystallised in the Palaces that constitute the patrimony of the Crown.
The Royal Palaces of Spain are open to visitors at stated times, and it Is
hoped that this volume, with its wealth of illustrations, will serve the visitor
both as a guide and a souvenir.
UNIFORM WITH THIS VOLUME
THE ROYAL TAPESTRIES
AT MADRID
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE COLLECTION
OF BEAUTIFUL TAPESTRIES IN THE ROYAL PALACE AT MADRID.
WITH OVER 200 ILLUSTRATIONS
THE Royal Palace at Madrid contains the most valuable and interesting
collection of Tapestries in Europe. These were for the most part
woven in Flanders, some in the early fifteenth century, at a time
when the industry in that country had reached its zenith. At a later
period the work of the Flemish artists was imitated in Spain itself
with no little success. Among the designers of these superb works of art were
Quentin Matsys, Pieter Brenghel, and the Divine Raphael himself. Not artis-
tically only but historically the collection is of rare interest. The series illus-
trating the Conquest of Tunis, for the light it throws on the history, equipment,
and episodes of that expedition may be likened to the famous tapestries of
Bayeux. Nor is it possible to gaze without peculiar interest on the costly
draperies which housed the Majesty of Spain and the Empire — the hangings of
the imperial throne of Charles V. The importance to the world of art and
history of this collection was first sufficiently realized by his late Majesty, Don
Alfonso XII., by whose command it was photographed and catalogued by the
learned Count of Valencia de Don Juan, who had already accomplished the
reorganization of the Royal Armoury. An account based on this catalogue of
these priceless tapestries — forming a pictorial record of Spain's most glorious
achievements — is now for the first time published in England ; together with no
fewer than 250 illustrations, reproducing the beauty in all its detail of these
wonderful triumphs of the weaver's craft. The book, or album as it might more
correctly be termed, should find a place in the library of every student of the
fine arts.
8
UNIFORM WITH THIS VOLUME
C 6 R D OVA
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT
CITY WHICH THE CARTHAGINIANS STYLED THE "GEM OF THE
SOUTH." WITH i6o ILLUSTRATIONS. BY ALBERT F. CALVERT
AND WALTER M. GALLICHAN
GAY- LOOKING, vivacious in its beauty, silent, ill-provided, depopulated,
Cordova was once the pearl of the West, the city of cities, Cordova of
the thirty suburbs and three thousand mosques ; to-day she is no
more than an overgrown village, but she still remains the most
Oriental town in Spain.
Cordova, once the centre of European civilisation, under the Moors the
Athens of the West, the successful rival of Baghdad and Damascus, the seat of
learning and the repository of the arts, has shrunk to the proportions of a third-
rate provincial tomi ; but the artist, the antiquary and the lover of the beautiful,
will still find in its streets and squares and patios a mysterious spell that cannot
be resisted.
UNIFORM WITH THIS VOLUME
VIZCAYA AND SANTANDER
SOME ACCOUNT OF THE CANTABRIAN LAND AND OF SPANISH
NAVARRE. BY ALBERT F. CALVERT
WHETHER or not the Basques be the aboriginal inhabitants of the
Peninsula, they are at least the oldest of its peoples, and among
the most interesting. Their language, their customs, their fueros
or local code, above all their mysterious origin, have been the themes
of discussion and speculation among the learned for centuries — and
are likely to continue so. Meanwhile they flourish e.xceedingly, and their towns,
or at least their sea-ports hum with life and energy.
It is a wild stern coast this, of Northern Spain, constantlv swept by gales
from the troubled bay. In the inaccessible recesses of the giant'peaks that stand
sentinel over the land, the ancient Cantabrians for years defied the might of
Rome, even as their descendants have always shown themselves ready to fight
to the last gasp for their rights and liberties.
ScenicaUy there is no part of Spain more beautiful, though its beauty is of
a grander, more rugged type than that of Andalusia or Valencia.
Without indulging in long dissertations on the origin of the Basques, and
ventilating theories as to the derivation of their language, the author endeavours
to convey some idea of the charms of travel in a noble and unfrequented country,
among an ancient and virile race.
LIFE OF CERVANTES
A NEW LIFE OF THE GRE.A.T SPANISH AUTHOR TO COMME.MORATE
THE TERCENTENARY OF THE PUBLICATION OF " DON QUIXOTE,"
WITH NUMEROUS PORTRAITS AND REPRODUCTIONS FROM EARLY
EDITIONS OF " DON QUIXOTE "
" A popular and accessible account " We recommend the book to all
of the career of Cervantes." those to whom Cervantes is more than
Daily Chronicle. a mere name." WestminsUr Gazette.
"A very readable and pleasant "A most interesting resum6 of all
account of one of the great writers of facts up to the present time known."
all time." Morning Leader. El Nervion de Bilbao, Spain.
UNIFORM WITH THIS VOLUME
THE PRADO
A GUIDE AND HANDBOOK TO THE ROYAL PIC-
TURE GALLERY OF MADRID. ILLUSTRATED WITH
221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD
MASTERS. BY ALBERT F. CALVERT AND
C. GASQUOINE HARTLEY
THIS volume is an attempt to supplement the accurate but formal
notes contained in the ofi&cial catalogue of a picture gallery which is con-
sidered the finest in the world. It has been said that the day one
enters the Prado for the first time is an important event like marriage,
the birth of a child, or the coming into an inheritance ; an ex-
perience of which one feels the effects to the day of one's death.
The excellence of the Madrid gallery is the excellence of exclusion ; it is a
collection of magnificent gems. Here one becomes conscious of a fresh power in
Murillo, and is amazed anew by the astonishing apparition of Velazquez ; here is,
in truth, a rivalry of miracles of art.
The task of selecting pictures for reproduction from what is perhaps the
most splendid gaUery of old masters in existence, was one of no Uttle difficulty,
but it is believed that the collection is representative, and that the letterpress
will form a serviceable companion to the visitor to The Prado.
UNIFORM WITH THIS VOLUME
EL GRECO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED
BY REPRODUCTIONS OF OVER 140 OF HIS
PICTURES. BY ALBERT F. CALVERT AND
C. GASQUOINE HARTLEY
IN a Series such as this, which aims at presenting every aspect of Spain's
eminence in art and in her artists, the work of Domenico Theotocopuli
must be allotted a volume to itself. " El Greco," as he is called, who
reflects the impulse, and has been said to constitute the supreme glory
of the Venetian era, was a Greek by repute, a Venetian by training, and a
Toledan by adoption. His pictures in the Prado are still catalogued among
those of the Italian School, but foreigner as he was, in his heart he was more
Spanish than the Spaniards.
El Greco is typically, passionately, extravagantly Spanish, and with his
advent, Spanish painting laid aside every trace of Provincialism, and stepped
forth to compel the interest of the world. Neglected for many centuries,
and still often misjudged, his place in art is an assured one. It is impossible
to present him as a colourist in a work of this nature, but the author has got
together reproductions of no fewer than 140 of his pictures— a greater
number than has ever before been published of EI Greco's works.
10
UNIFORM WITH THIS VOLUME
VELAZQ UEZ
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED
WITH 136 REPRODUCTIONS FROM PHOTOGRAPHS
OF HIS MOST CELEBRATED PICTURES. BY ALBERT
F. CALVERT AND C. GASQUOINE HARTLEY.
DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ—" our Velazquez."
as Palomino proudly styles him — has been made the subject of innu-
merable books in every European language, yet the Editor of this
Spanish Series feels that it would not be complete without the inclusion
of yet another contribution to the broad gallery of Velazquez Uterature.
The great Velazquez, the eagle in art — subtle, simple, incomparable — the
supreme painter, is still a guiding influence of the art of to-day. This greatest
of Spanish artists, a master not only in portrait painting, but in character and
animal studies, in landscapes and historical subjects, impressed the grandeur of
his superb personality upon all his work. Spain, it has been said, the country
whose art was largely borrowed, produced Velazquez, and through him
Spanish art became the light of a new artistic life.
The author cannot boast that he has new data to offer, but he has put
forward his conclusions with modesty ; he has reproduced a great deal that is
most representative of the artist's work ; and he has endeavoured to keep alwajrs
in view his object to present a concise, accurate, and readable hfe of Velazquez.
UNIFORM WITH THIS VOLUME
CATALONIA AND THE
BALEARIC ISLANDS
AN HISTORICAL AND DESCRIPTIVE ACCOUNT
WITH OVER 250 ILLUSTRATIONS
C.'^TALONIA is the Spain of to-day and of the futiu-e. While the cities
of the Leon and Castile age sleeps peacefully, and seem lost in dreams
of the glories of the past, Barcelona and her neighbouring towns throb
with feverish modern life, and their citizens press forward eagerly in
the path of material and intellectual progress. There are those who
believe that Catalonia contains all the elements essential to the complete re-
generation of Spain, and that she will raise the whole country to her industrial
level. But the old county of Barcelona has a glorious and stirring past, as well
as a promising future. Her history goes back to the days of Charlemagne, and
has to tell of merchant princes and of hazardous commercial enterprise, reminding
one of the Itahan maritime republics.
The Catalans, as is well known, are in many respects a distinct race from
the Spaniards. They approximate to the Provencals, and have much of the
charm attaching to that nation of singers and fighters. Full of ancient cities —
Barcelona, Tarragona, Gerona, Lerida, among others — the province abounds
with interest to sightseer and student alike.
The Balearic Islands, one of which (Minorca) was long an English possession,
constitute one of the most flourishing provinces of the Kingdom. Happiness
and prosperity are writ large over their surface. The birthplace of that extraor-
dinary genius, Raymond LuUi, these fortunate isles have never lost that old
culture and urbanity introduced by the .Moors. Delightful as a place of sojourn
or residence, Majorca and her sister isles reveal many and conspicuous traces of
that prehistoric race which once offered bloody sacrifices to the Sun on all the
shores of the Inland Sea.
II
BY ALBERT F. CALVERT
THE ALHAMBRA
OF GRANADA, BEING A BRIEF HISTORY OF THE
MOSLEM RULE IN SPAIN FROM THE REIGN OF
MOHAMMED THE FIRST TO THE FINAL EXPULSION
OF THE MOORS, TOGETHER WITH A PARTICULAR
ACCOUNT OF THE CONSTRUCTION. THE ARCHITEC-
TURE AND THE DECORATION OF THE MOORISH
PALACE, WITH 80 COLOURED PLATES AND NEARLY
300 BLACK AND WHITE ILLUSTRATIONS (NEW
EDITION). DEDICATED BY PERMISSION TO H.M.
KING ALFONSO XIII.
Size 10 X 7^.
Price {2 2s. net
PRESS NOTICES
" It is hardly too much to say that
this is one of the most magnificent
books ever issued from the English
Press." Building World.
" One is really puzzled where to
begin and when to stop in praising the
illustrations." Bookseller.
"The most complete record of this
wonder of architecture which has ever
been contemplated, much less at-
tempted." British Architect.
" A treasure to the student of
decorative art." Morning Advertiser.
" Mr. Calvert has given us a Book
Beautiful." Westerri Daily Press.
"It is the last word on the subject,
no praise is too high."
Nottingham Express.
"May be counted among the more
important art books which have been
published during recent years."
The Globe.
" Has a pride of place that is all its
own among the books of the month."
Review of Reviews^
"Has in many respects surpassed
any books on the Alhambra which up
to the present have appeared in our
own country or abroad "
El Graduador, Spain.
"It is one of the most beautiful
books of modem times." Ely Gazette.
" One of the most artistic produc-
tions of the year."
Publishers' Circular.
" The most beautiful book on the
Alhambra issued in England." Sphere.
" The standard work on a splendid
subject." Daily Telegraph,
" A remarkable masterpiece of book
production." Eastern Daily Press.
" A perfect treasure of beauty and
delight." Keighley News.
" A magnificent work."
Melbourne Age, Australia.
" Immense collection of fine plates."
The Times.
" A standard work, the compilation
of which would credit a life's labour."
Hull Daily MaU.
12
BY ALBERT F. CALVERT
MOORISH
REMAINS
IN SPAIN
BEING A BRIEF RECORD OF THE ARABIAN
CONQUEST AND OCCUPATION OF THE PENINSULA,
WITH A PARTICULAR ACCOUNT OF THE MOHAM-
MEDAN ARCHITECTURE AND DECORATION IN THE
CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH
MANY COLOURED PLATES, AND OVER 400 BLACK
AND WHITE ILLUSTRATIONS, DIAGRAMS, ETC.,
DEDICATED BY PERMISSION TO H.M. KING
ALFONSO XIII.
Crown 4to. (7^ x 10 ins.) Price £2 2s. net
PRESS NOTICES
" The making of this book must
surely have been a veritable labour of
love ; and love's labour has certainly
not been lost." Pall Mall Gazette.
" The best age of Moorish architec-
ture in Spain is shown v\-ith remarkable
vividness and Natality." The Scotsman.
" A most gorgeous book. . . . We
cheerfully admit .\Ir. Calvert into
the ranks of those whom posterity will
applaud for delightful yet unprofitable
work." Outlook.
" A lairge and sumptuous volume."
Tribune.
"The illustrations are simply marvels
of reproduction." Dundee A dvertiser.
" One of the books to which a simple
literary review cannot pretend to do
justice." Spectator.
" A special feature of a work of
peculiar interest and value are the
illustrations." Newcastle Chronicle.
" The illustrations are given with a
minuteness and faithfulness of detail,
and colour, which will be particularly
appreciated and acknowledged by those
who are most acquainted with the
subject themselves." Liverpool Post.
" It is impossible to praise too highly
the care with which the illustrations
have been prepared."
Birmingham Daily Post.
" It is illustrated with so lavish a
richness of colour that to turn its pages
gives one at first almost the same
impression of splendour as one receives
in wandering from hall to hall of the
-Mcazar of Seville ; and this is prob-
ably the highest compliment we could
pay to the book or its author."
Academy.
" It is certainly one of the most
interesting books of the year." Crown.
" The occasional deUcacy of design
and harmony of colour can scarcely be
surpassed .... a valuable and pro-
fusely illustrated volume." Guardian.
" An excellent piece of work."
The Times.
" Mr. Calvert has performed a use-
ful work." Daily Telegraph.
" A truly sumptuous volume."
The Speaker.
" Mr. Calvert has given a very
complete account of the evolution of
Moresco art." The Connoisseur.
13
THE SPANISH SERIES
EXTRACTS FROM THE
OPINIONS OF THE PRESS
"Sketch."
". . . Eight of these volumes, handsomely bound in the familiar red-and-
gold colours of Spain, are already out, and are calculated to give English readers
a most comprehensive survey of this fascinating land, and to convey a clear
idea of its historic greatness. The get-up of the books is in every way worthy
of a series of this magnitude — a series which, as one reviewer has said, could
not have been carried out by another living author. . . ."
y November 13th, 1907.
" Queen."
" . . No comitry has ever been illustrated so completely. The richness of
Spain in Moorish and Gothic monuments is incredible, and Mr. Calvert has
made them his special study. . . ."
February i6th, 1907,
" Queen."
". . . Mr. Calvert's purpose is to make readily available to the ordinary
English reader and traveller information which guide-books necessarily do not
supply. The work involved in the collection of data must have been very great.
He utilises his material with real literary skill, and there is not one of these
books which is not equally pleasing and instructive to read. But their dominant
featiu-e, which puts them above and beyond all others in interest and educa-
tional value, is the wealth of their illustrations. . . ."
January, 1907.
"British Weekly."
" The Spanish Series provides an indispensable set of guide-books for the
ever-increasing company of tourists in the Peninsula. . . . These handsomely
produced volumes may be recommended to students of Spanish history and art,
and to every intending traveller in Spain."
August 29th, 1907.
" Academy."
"... A new and important series of volumes dealing with Spain in its various
aspects, its history, its cities and monuments. Each volume will be complete in
itself in an uniform binding, and the number and excellence of the reproductions
from pictures will justify the claim that these books comprise the most copiously
illustrated series that has yet been issued. The advent of some such series has
been foreshadowed by the inauguration of cheap, circular tours to the Iberian
Peninsula, and by the spasmodic issue of single volumes having more or less the
nature of literary and artistic guide-books to Spain ; now that the long-antici-
pated effort is to be made to fight with the pen of the people for Spain's right to
rank with Italy, Sicily, and Greece in the Ust of attractive European playing-
grounds, we are indeed happy, even relieved, to know that the crusade has been
organized imder such promising conditions. . . ."
June 29th, 1907.
"St. Pancras Gazette."
" Whether we regard the Spanish Series, which is being produced under
the able editorship of Mr. Albert F. Calvert, as single volumes on subjects of
14
special interest, or as literary and artistic guide-books to all that is most worthy
and beautiful in a wonderful and most fascinating country, we can have for them
nothing but enthusiastic and grateful praise. No series yet issued has ever been
so copiously illustrated, nor has been offered at so modest a price. ... It is
impossible to study these volumes without catching something of the author's
enthusiasm for his subject, and we envy the reader who can undertake a tour of
Spain in such company."
November 30th, 1907.
"Dublin Express."
". . . The appearance of the new and important series of volumes which is
at present being issued by Mr. John Lane under the general title of ' The Spanish
Series,' dealing with the various aspects of the country, its cities and public
buildings and monuments, should appeal to a large section of the travelling
public who tour Europe for pleasure and instruction combined. The series,
which is carefully and admirably edited by Mr. Albert F. Calvert, is quite
unique as regards its turn-out, the fulness of knowledge which each of the
volumes displays, and the lavish number and highly artistic quality of the
photogravure illustrations. . . . Books such as these are not only of value and
interest to those who love travel, but will be a valuable addition to any well-
chosen library."
December 30th, 1907.
" Dundee Advertiser."
" A great work for Spain is being accomplished by the renowned traveller,
Albert F. Calvert, through the pubUcation of the magnificent volumes
included in the Spanish Series. . . ."
December gth, 1907.
" Morning Leader."
". . . This Series is indispensable to students and amateurs. ... It is more
instructive than many treatises on the medieval development of Spanish
architecture. Any one of these volumes is a treasure-house of Spanish art.
The whole series is a liberal education. They are a marvel of cheapness."
December 7th, 1907.
" Yorkshire Observer."
" Mr. Calvert is making his Spanish Series of monographs a veritable
encyclopaedia of the national history and the national art. . . ."
February 21st, 1908.
" Argonaut " (San Francisco)
". . . The Spanish Scries is unique in its way, and perhaps the only com-
prehensive attempt to imveil the artistic and architectural treasures of Spain. . ."
February ist, 1908.
"Yorkshire Daily Post."
" These books are quite admirable in every way. They are so extra-
ordinarily rich in illustration that they may be enjoyed by the fireside reader
almost as much as when they companion the student and sightseer. . . ."
May 11th, 1907.
"World."
" Mr. A. F. Calvert's Spanish Series will be heartily welcomed by all
students of Spanish art, for it is not too much to say that never before has an
attempt been made to present to the pubUc so vast a number of reproductions
from quite acceptable photographs of Spanish works of art at so low a price."
September 7th, 1907.
15
" Liverpool Daily Courier."
" Mr. Calvert, who is responsible for this curiously interesting series, is
doing a remarkable work for Spain. ... He is a good, honest craftsman, with a
fine enthusiasm for his subject, and he is content to set things before us in a
straightforward way. His writing is always readable, so that the service he
does in describing for us the treasures of Spain, and that nation's great per-
sonalities, is really very considerable. . . ."
July 5th, 1907.
" Aberdeen Free Press."
". . . Mr. Calvert, the editor of the series, has long been "a student of
Spanish life and annals. He loves the country, and he is steeped in its history,
and the letterpress which he has contributed to these volumes is informed with
accurate and full knowledge. . . ."
July i8th, 1907.
" Daily News."
". . . Lovers of Spain will be grateful to Mr. Calvert for the work he is
doing in such volumes as these to provide a worthy monument of the greatness
of its manifold appeals."
July 26th, 1907.
Journal " (Providence, P. A.)
" Such an attractive series of guide-books as that which Mr. Calvert is
giving us of Spain deserves the appreciation alike of those who would \'isit that
fascinating country and those who are deprived of that pleasure, but may gain
some idea of it from the pleasantly written text and the notable illustrations
which each volume furnishes. . . . This series deserves a very high place among
the books of the class."
September 29th, 1907.
' Daily News."
" Every volume in the Spanish Series has taught us to expect a high
standard of excellence from the editor, Mr. Albert F. Calvert. . . ."
July 20th, 1907.
* Sunday Times."
" This is an extraordinarily cheap and attractive set of guide-books which
Mr. A. F. Calvert is editing. This Spanish Series is an excellent idea, and it
deserves the compliment of imitation."
July 7th, 1907.
' Belfast News-Letter."
" The Spanish Series which Mr. Albert F. Calvert is so ably editing is, we
believe, the first attempt that has ever been made to exhaustively illustrate
any country. . . . For years he has been at work on his great project of illustrating
Spain, and the collector who secures all the volumes in this country will certainly
be in a position to see Spain steadily, and see it whole. It is claimed that these
books comprise the most copiously illustrated series that has yet been issued,
and that claim is more than justified in the volumes that have been already
published."
April 30th, 1908.
' Baedeker's Guide to Spain."
" The inexpensive Spanish Series of volumes edited by A. F. Calvert, and
now in course of publication in London, are useful for their very numerous
photographic illustrations."
1908.
16
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